LIBRARY OF CONGRESS. 

Chap. Copyright No. 

sheir,;!^^^. C 6 r 

UNITED STATES OF AMERICA. 




WILLIAM SHAKESPEARE. 
After the original Chandos portrait. 



lEnglfelj ei^lasgtcs — Star Series 



THE MERCHANT OF VENICE 



BY 

WILLIAM SHAKESPEARE 



EDITED EOR SCHOOL USE 
BY 

hele:n^ gray cone 

PROFESSOR OF ENGLISH LITERATURE IN THE NORMAL 
COLLEGE OF THE CITY OF NEW YORK 




GLOBE SCHOOL BOOK COMPANY 

NEW YORK AND CHICAGO 



TWO Copies REcnvKo. 

MAY 1 8 1900 

8e»l»ttr of Copyrt,»n 
SECOND COPY, / ^ g-f} C> 

.61696 

Copyright, 1900, by 
Globe School Book Company, 



M. P. I 



MANHATTAN PRESS 

474 W. BROADWAY 

NEW YORK 



CONTENTS 



Introduction : 

I. The Elizabethan Habit of Speech 
II. Use of the Notes 

III. Shakespearian Grammar 

IV. Shakespeare's Verse . 
V. Eupliuistic Prose 

VI. Place of the Merchant of Venice 
speare's Plays 
VII. Source of the Plot 
VIII. Basis of the Text 
.IX. Test Questions . 

THE MERCHANT OF VENICE 



among Shake 



V 

vi 
vii 
viii 
xii 

xiii 
XV i 
xix 

XX 



Notes : 

Explanatory . 
Suggestive and Critical 



85 
125 



ni 



INTRODUCTION 

I. THE ELIZABETHAIST HABIT OF SPEECH 

In order to read Shakespeare with ease and enjoyment, 
we must get into the way of taking certain things for 
granted. It will secure the student, in advance, against 
many perplexities, if he will but recognize at once that all 
Shakespeare's persons, to whatever period and country they 
are supposed to belong, talk like Elizabethan Englishmen. 
That is to say, they use language freely, daringly, forcibly ; 
inventing new expressions for the moment's need — strangely 
compounded adverbs, verbs joined to their objects, compound 
nouns rich with meaning, nouns suddenly used as verbs, 
foreign words quickly seized upon and fitted into English 
usage. They deal in metaphors so rapidly conceived in the 
swift play of conversation that one jostles another; in 
elliptical constructions, which serve in speech as short- 
hand does in writing. They help out the thought at every 
turn with movements of hand and eyebrow. If you will 
picture to yourself such an Elizabethan gentleman as may 
have sat upon the stage during the first performance of TJie 
Merchant of Venice, — a brilliant figure dressed in silk, velvet, 
or satin, with sleeves many times slashed to give glimpses 
of bright-colored linings ; a man with his beard fantastically 
cut in the shape of a heart, or a spade, or a T, and perhaps 
with an earring in his ear, — you will see that this kind 
of person would not be likely to express himself in the 
manner to which you are accustomed. Our modern speech, 
like our modern fashion of dress, is soberer and simpler. 

Speech uttered by persons like this, and intended to be 
immediately understood by other persons like this, can only 



vi INTRODUCTION 

be apprehended now through the response of the reader's 
imagination. You cannot read Shakespeare in a perfectly- 
prosaic mood and really understand what his characters 
say ; and an editor cannot explain Shakespeare's words in a 
perfectly prosaic mood without taking the life out of them. 
There would be little comfort in reading Shakespeare in an 
interlinear edition; and to form a habit of looking up in 
explanatory notes such expressions as " want-wit," " vinegar 
aspect/' " woven wings/' " scarfed bark/' " wit-snapper/' 
" bleared visages/' and so on, would be to cripple one's own 
powers. These expressions were intended to convey the 
speaker's meaning with electric swiftness ; and they do so 
convey it, when we hear them well spoken on the stage. 

II. USE OF THE NOTES 

The student must, then, constantly use his own imagina- 
tion in interpreting Shakespeare's language. But there are 
cases in which this key alone will not unlock the full 
meaning of a passage. Some notes are needed, and for the 
present edition two sets of notes have been supplied : ex- 
planatory notes, dealing with minor details ; and extended 
suggestive and critical notes, dealing with the more vital 
matters of the play. In the former, the editor may some- 
times have erred on the side of fullness ; but it has been for 
the sake of those students to whom the best reference books 
are not at all times accessible. 

It is not intended that either set of notes should he used by 
the student in his first reading. It is believed that the first 
reading of a play should correspond to the first seeing of it. 
The mind should grasp it as a ivhole, examination of details 
coming later. If one went to the theater to see, for the first 
time, The Merchant of Venice acted, it would certainly be 
very trying to have a companion who insisted on making 
explanations throughout. But the subsequent study of a 



INTRODUCTION vii 

play, unless there be something wrong in the method of 
study, ought to make all future readings and presentations 
more enjoyable. The very first delight of the living, mov- 
ing story, it is true, will be gone; but a deeper pleasure will 
have taken its place. 

III. SHAKESPEAEIAN GRAMMAE 

In his second reading, or study, the student will find that 
some startling peculiarities of the Elizabethan grammatical 
structure, quite distinct from the free and fresh use of 
language already described, thrust themselves upon his 
notice. He discovers that certain rules of grammar, which 
he has been rightly taught that he must obey, had no force 
in Shakespeare's time ; he learns that usage, three hundred 
years ago, differed much from our present usage. Here, 
again, we have something to take for granted : that a form 
occurring in Shakespeare, in the speech of persons above 
the peasant class, is generally, though not invariably, cor- 
rect according to Elizabethan custom. Nothing can be more 
misleading, for instance, than to say that " Who love I so 
much?" (Act II, sc. vi, line 30,) is a mistake of Shake- 
speare's ; though, on the other hand, it does us no harm to 
be reminded that the sentence would, if written to-day, be 
incorrect. 

This difference of usage presents itself at many points. 
We meet it, for instance, in double negatives, in forms of 
the plural of verbs which appear to us to be the singular, 
in the unfamiliar force often given to prepositions. It does 
not seem necessary to state formally in the notes that when 
an Elizabethan said on he sometimes meant of, or that when 
he said of he sometimes meant with. As Ave read " I am 
glad on 't," Act II, sc. vi, line 67, the context shows us that 
on here means of As we read " I am provided of a torch- 
bearer," Act II, sc. iv, line 23, we again see from the context 



viii INTRODUCTION 

that o/ means lolth. " 'Tis better in my mind not undertook," 
line 7 in the same scene, shows us that an Elizabethan was 
likely to use the preterite instead of the past participle. 
These things, and very many more, the student will gradu- 
ally learn by experience ; or, if he wishes, he may find them 
accurately formulated in Abbott's Shakespearian Grammar. 
Attention will be drawn to such matters, in this edition, 
only when it seems possible that the true meaning may 
otherwise escape ; or when it seems profitable to notice, in 
passing, that what was right for Shakespeare would be 
glaringly wrong for us. 



IV. SHAKESPEARE'S VERSE 

(This and the subsequent sections are meant to accompany 

intensive study.) 

a. In the original type of English blank verse, intro- 
duced by Lord Surrey, each line consists of five iambic feet. 
If we make a stand for an accented syllable, and x for an 
unaccented syllable, the formula will be : — 

xa \ xa \ xa \ xa \ xa, 

or, 5 xa. But if we prefer the old method of notation 
(somewhat objectionable because it suggests vowel-quantity 
instead of accent), we may write the formula thus : — 



It will easily be seen that such a form is too stiff and 
unyielding for dramatic dialogue. The Elizabethan dram- 
atists created, for their needs, a more flexible type of blank 
verse, thus described by Dr. Ellis : " It is . . . divided into 
five groups, each of which theoretically consists of two sylla- 
bles, of which the second only is accented." . . . But "practi- 



INTRODUCTION ix 

cally many of the groups are allowed to consist of three syllables, 
two of them being unaccented. . . . The number of syllables 
may therefore be greater than ten, while the accents may 
be, and generally are, less than five." 

b. To illustrate this last point take Act I, sc. i, line 3, 
of The Merchant of Venice : — 

But how I I caught | it, found | it or | ^ame by | it. 

If we read this line naturally, we have : — 

xa \ xa \ xa \ xx \ xa + x^ 
or 

w — 1*^ — I \j I \j \u \\j -\- \J- 

This gives us eleven syllables and four accents. The addi- 
tion of the unaccented eleventh syllable, in plaj^s produced 
by Shakespeare after his earliest period, is frequent, and 
helps to make the dialogue easy and musical. 

c. The coupling of two unaccented syllables, as here 
in the fourth foot, is also frequent, and adds to the variety. 
If we were using formal terms, we should call it the sub- 
stitution of a pyrrhic foot for an iambus. We also find 
similar substitutions of trochees and spondees ; for instance. 
Act I, sc. i, line 18 : — 

w 

Plucking I the grass, to know where sits the wind ; 

and line 106 : — 

I must be one of these | same dumb | wise men. 

d. In line 5 of Act I, sc. i, we make another discovery : — 

I am I to learn. 

Here we have a line of two feet. These short lines, of one, 
two, or three feet, occasionally occur in Shakespeare, most 
frequently in impressive positions, as at the beginning or 
the end of a speech. 



X INTRODUCTION 

e. If we look at Act II, sc. vii, lines 5, 1, and 9, we shall 
see that each contains six feet : — 

Who choos I eth me | shall gain | what man | y men [ desire. 
Who choos I eth me | shall get | as much | as he | deserves. 
Who choos I eth me | must give | and haz | ard all | he hath. 

Dr. Abbott contends that the Alexandrine, or iambic hex- 
ameter, rarely occurs in Shakespeare ; and it is certainly 
true that some apparent Alexandrines may be explained 
away, according to theories of accent and contraction. But 
such lines as those last cited are quite clear. Dr. Ellis says 
that Shakespeare "seems never to hesitate to use a pure 
Alexandrine when it suits his convenience." 

/. As we continue reading the scene just referred to, we 
find that the verse of the "written scroll," lines 65-75, is 
rhymed trochaic tetrameter, with a syllable lacking at the 
end : — 

\^ w w 

All that I glisters | is not | gold. 

This form, though not always lacking the last syllable, and 
sometimes intermingled with iambic verses (as 72), occurs 
in Shakespeare in special passages, like inscriptions, and the 
speech of witches and fairies ; in short, in cases where the 
writer has reasons for wishing to deviate from his usual form. 

g. At the end of a scene, or before the exit of an actor, 
Shakespeare often gives us a rhyming couplet, without 
changing the iambic pentameter form. (The jingle, in 
such a position, was then thought effective ; indeed, per- 
haps it was often necessary, on account of the deficient 
scenery of the time, in order to notify the audience of some 
transition.) See the close of the scene under examination, 
lines 76, 77, before Morocco's exit, and lines 78, 79 at the close. 

h. The strongest reason for paying particular attention 
to this matter of Shakespeare's verse, is that the beautiful 
poetry of the plays was meant to be heard. We lose half 



INTRODUCTION xi 

of its beauty and of its moving power, if we do not read 
it aloud, or hear it delivered. And it cannot be delivered 
accurately and effectively without some understanding of 
the principles on which the verse is based. These princi- 
ples once grasped, any one who is fortunate enough to 
possess a good ear may generally trust to it in his reading ; 
bearing in mind, however, that (1) Elizabethan English, like 
the common speech of to-day, had many contractions which 
are not necessarily represented in print ; that (2) it also had 
many convenient resolutions and expansions; and that (3) 
the accent frequently differed from that of our own time. 

1. As an example of contraction, examine Act II, sc. iii, 
line 1, " I am sorry thou wilt leave my father so." Here we 
may, indeed, regard the first foot as an anapest, — that is, as 
composed of two unaccented syllables followed by an ac- 
cented syllable, — illustrating Dr. Ellis's remark that prac- 
tically many " groups " or feet are allowed to consist of 
three syllables. But it is highly probable that in rendering 
the line, the speaker slurred "I am" so that it became 
almost, or quite, "I'm." Whether a modern reader should 
so slur it or not, is a question of taste ; but it is clear that 
such a rendering can do no harm. 

One of these Elizabethan contractions is so common as to 
require special mention. The tli in such a word as ivhether, 
either, whither, rather, was often dropped, and the word 
treated as a monosyllable. It is well that we should under- 
stand this fact, lest certain lines appear to us mysteriously 
awkward. Yet it would seem to most hearers a strange 
affectation, if, in reading Shakespeare aloud at the present 
day, we read " whe'r," " whi'r," " ra'r " ; and it is simpler 
to fall back, in this case, on the theory of a three-syllabled 
foot, delivering the unaccented syllables lightly but per- 
ceptibly. Or we may be helped in rendering a line at once 
musically and intelligibly, by a knowledge of the apparent 
law that er final was sometimes treated like the French re, 



xii INTRODUCTION 

especially before a vowel or a silent h ; and that el and le 
final were also dropped or softened under similar condi- 
tions. (All of the foregoing remarks are illustrated by the 
note on Act I, sc. i, lines 46-50.) 

2. For an example of expansion, turn to Act III, sc. ii, line 
18: "And so all yours. 0, these naughty times." We see 
that this line cannot be read satisfactorily unless " yours " 
be pronounced as a dissyllable. It does not follow that the 
word was not commonly a monosyllable, as it is with us ; 
but it was lengthened at need. (Indeed, we ourselves some- 
times lengthen it unconsciously in conversation, though we 
do not in verse.) In line 20 we find the same treatment of 
" yours," followed by the ordinary usage : — 

And so, I though you | -rs, not \ yours. Prove | it so . . . 

Here the first " yours " and " not " are in emphatic posi- 
tions. (See also the word " opinion," in Act. I, sc. i, lines 
91 and 102. In the former of these lines it has the custom- 
ary pronunciation ; in the latter the reader must go back to 
an earlier usage, and give it four syllables, as in Chaucer's 
English, where it occurs as "opinioun.") The treatment 
of final ed is also variable in Shakespeare. 

3. Difference of accent is exemplified by Act II, sc. i, 
line 8. It is evident here, as in many other instances, that 
the accent was placed on the second syllable of " aspect." 

V. EUPHUISTIC PROSE 

For scenes of pure comedy, as well as for brief transi- 
tional scenes necessary to the action, Shakespeare generally 
employs prose. When the speakers are of the higher class, 
as in Act I, sc. ii, his prose style is often tinged with that 
fashion of discourse called Euphuism, which took its name 
from John Lyly's popular romance, Euphues, published in 



INTRODUCTION xiii 

1579. Some of the characteristics of Euphuism have else- 
where been touched upon. (See I, The Elizabethan Habit 
of Speech, and also note on Act I, sc. i, line 19.) It may 
be added that the Euphuists were fond of antithesis, allit- 
eration, the balanced sentence, and allusion, either to classic 
mythology or to those false notions of natural history 
which then prevailed. (See As You Like It, Act II, sc. i, 
lines 13, 14.) Under the affectation 6f the Euphuistic 
style there was often much good sense. Scott's picture of 
a Euphuist (Sir Piercie Shafton, in The Monastery) is, 
therefore, somewhat misleading, though it is a good carica- 
ture ; like Shakespeare's own Armado in Lovers Labour's 
Lest. 

VI. PLACE OF THE MEECHANT OF VE:NriCE 
AMONG SHAKESPEARE'S PLAYS 

The few known facts of Shakespeare's life have probably 
been brought before the student ; but it can do no harm to 
recapitulate them. We know from the record in the parish 
register of Trinity Church, Stratford-on-Avon, Warwick- 
shire, that William, the son of John Shakespeare (or Shak- 
spere) was baptized on April 26, 1564. We assume that 
he was born on the 23d. His boyhood and early manhood 
were passed in that pleasant country, and this may account 
for the lovely pastoral touches which we find scattered 
through his plays. He got a little schooling at the Strat- 
ford Grammar School. At nineteen he married Anne Hath- 
away, a young woman seven years older than himself, who 
lived at Shottery, not far from Stratford. At twenty-one 
or twenty-two Shakespeare left Warwickshire for London. 
His wife and three children, Susanna and the twins Hamnet 
and Judith, remained in Stratford. Shakespeare was prob- 
ably led partly by a young man's desire to see the world, 
and partly by the necessity of pushing his fortunes. His 



xiv INTRODUCTION 

father, once a prosperous citizen, had long since fallen into 
poverty. 

It appears that in London Shakespeare soon formed a con- 
nection with the theater, as an actor and also as an adapter 
of old plays. It was not very long before he began to pro- 
duce plays of his own. It used to be generally believed that 
one of his earliest plays was Titxis Aiidronicus, a bloody 
tragedy of a kind then very popular ; but some Shakespeare 
scholars maintain that he had little, if any, connection with 
that disagreeable work. We may be quite sure that he 
wrote, at the beginning of his career. Lovers Labour's Lost, 
The Comedy of Errors, and The Two Gentlemen of Verona. 
The first is a little satirical comedy glittering with wit, the 
second broad farce with some poetic touches, and the third 
a romantic love-comedy. In certain ways it seems related 
to the beautiful love-tragedy of Romeo and Jidiet, which also 
belongs to this period. Midsummer NigMs Dream, a love- 
comedy containing a delightful fairy element and also some 
scenes of broad rustic mirth, is the last of the non-historical 
plays written in what is commonly known as Shakespeare's 
First Period, which extends to about 1596. His English 
historical plays produced before that date are the Second 
and Tliird Farts of Henry VL (the First Fart was probably 
only retouched by him), Bichard II., Richard III, and King 
John. Shakespeare's two narrative poems, Venus and Adonis 
SiJid Luc7^ece, were also written before 1596. It is of more 
interest to us that the Sonnets, some expressions in which 
help to throw light on the present play, probably began to 
be written about this time. 

The precise date of- the production of The Merchant of 
Venice cannot be ascertained. The conjectures of Shake- 
speare scholars on this point range from 1594 to 1598. In 
the account book or diary of the manager, Philip Henslowe, 
occurs an entry concerning " the Venesyon comodey," with 
the date 1594. Those who accept the earlier date base their 



INTRODUCTION XV 

conclusions on this entry ; but we cannot be certain that 
the Venetian comedy referred to was The Merchant of 
Venice. The later time-limit is fixed by the mention of 
The Merchant in a list of Shakespeare's plays, in the Pal- 
ladis Tamia, or WWs Treasury, of Francis Meres, 1598. 

The Merchant, then, would appear to be either one of the 
last plays of the First Period, or one of the first plays of 
the Second Period. Now the Second Period, 1596 to 1601, 
is Shakespeare's sunny summer-time of comedy — a season 
so full of brightness that even its historical plays, the First 
and Second Parts of Henry IV. and Henry V, contain comedy 
elements. We have the rough fun of The Taming of the 
Shrew and TJie Merry Wives of Wi7idsor, followed by the 
more delicate mirth of Much Ado About Nothing, As You 
Like It, and Twelfth Night — all three "joyous, refined, ro- 
mantic." To this group of golden comedies The Merchant 
seems related, except for its tragic thread of interest, which 
suggests the graver work that Shakespeare had already 
done in Kiyig John, and the much greater work that he was 
yet to do, in the Third or Tragic Period (1601 to 1608). In 
a certain sense The Merchant is a mature production ; yet 
it has in it the fervor and the fluency of youth. 

It would be interesting to continue tracing the growth of 
Shakespeare's mind in his art ; but we cannot now give more 
than a glance forward. The last of the Second Period plays, 
AlVs Well that Ends Well, has an autumnal sadness in it ; the 
first play of the Third Period, Measure for Measure, is rather 
grim and cold. Two groups of great tragedies follow : the 
massive Poman plays, Jidius Ccesar, Antony arid Cleopatra, 
Coriolanus ; and the darker tragedies, Hamlet (which really 
in some respects stands by itself) , Othello, Macbeth, and Kiyig 
Lear. Two strange and bitter plays, Troilus and Cressida 
and Timon of Athens, complete the period. 

Between 1608 and his death in 1616 Shakespeare was liv- 
ing in Stratford as a prosperous gentleman. Pour of the 



XVI INTRODUCTION 

five plays produced during this time are dramatic romances, 
based on themes of forgiveness and reunion: Pericles, of 
which only the best portion appears to be Shakespeare's, 
CymheUne, The Tempest, and The Winter's Tale. The fifth 
is the English historical play, Henry VIII., a part of which 
was probably written by John Fletcher. 

It is as if we had been passing through connected rooms : 
the first a mere antechamber, the second full of light and 
color, the third dark, and the fourth again filled with a softer 
and tenderer light. To repeat, it is to the golden room, to 
the happy circle of choice comedies, that The Merchant of 
Venice belongs, despite the one dark thread in the weaving 
of its brilliant tapestry. 

VII. SOUECE OF THE PLOT 

It is always well to know something of the source from 
which Shakespeare took the plot of the play under con- 
sideration. In many cases the dramatist has made changes, 
more or less important, and these changes help us to under- 
stand his constructive art and to detect his point of view. 
In a composition as impersonal and mysterious as a drama 
all clews are precious. 

It will be seen that there are two plots, or themes, com- 
bined in The Merchant of Venice : the Bond Story and the 
Casket Story. There are various remote sources to which 
each of these may be traced ; but with us it is not a question 
of remote sources. We are not hunting for bits of curious 
knowledge, but trying to discover on what novel or play, or 
on what combination, Shakespeare based The Merchant. 

In 1579 Stephen Oosson, in his onslaught on plays 
and players entitled The School of Abuse, mentioned with 
praise a play called Tlie Jew, " shown at the Bull, . . . rep- 
resenting the greedinesse of worldly chusers, and bloody 
mindes of Usurers." This play is lost ; but Gosson's refer- 




Shakespeare's tomb in the church at Stratford-on-Avon. 
" Good frend for lesvs sake forbeare 
To digg the dvst encloased heare 
Bleste be ye man yt spares thes stones 
And cvrst be he yt moves my bones." 



INTRODUCTION xvii 

ence to it seems to establish the fact that there existed, 
before Shakespeare's Merchant, a play which combined the 
Bond Story and the Casket Story. The credit of this com- 
bination, then, belongs rather to the unknown author of The 
Jew than to his great successor. 

It is most unfortunate that we cannot compare The Mer- 
chant with The Jew ; but a resource is left us. We have 
the work on which The Jew is likely to have been founded. 

In 1378 an Italian writer, calling himself Ser Giovanni 
Fiorentino, put forth a book of little novels entitled II 
Pecorone. Among these stories is one which fully outlines 
the Bond Story, even to the circumstance of the heroine's 
disguising herself as a lawyer, and the complication in 
regard to her husband's ring. Though the three caskets 
are not introduced, the heroine is sought by many suitors, 
and she imposes upon them a singular test. Of this Italian 
book there was an edition published in 1565. Of course 
the unknown author of The Jew may have been able to read 
Italian; nor is it by any means certain that Shakespeare 
himself was unable to do so. But in any case " there is," 
says Dr. Furness, "• no difficulty in supposing that a transla- 
tion of 11 Pecorone existed and was widely read, albeit no 
single copy has survived." 

The student would find it highly interesting to read Dr. 
Johnson's epitome of the little novel in II Pecorone, which 
Dr. Furness has inserted in the Appendix to the Variorum 
Edition of The Merchant, pp. 298-303. It would be well to 
note down the resemblances and the differences between the 
Italian story and Shakespeare's play. One would thus be 
enabled to appreciate the fine judgment shown, either by 
Shakespeare, who may have known this story as well as 
The Jew, or by the writer of the last-named play. One 
instance of difference will here suffice : the Italian narrator, 
at the end, marries Ansaldo (Antonio) to the "damsel" who 
fills in the story the place of Xerissa in the play. 



xviil INTRODUCTION 

The Casket Story was apparently adopted by the author 
of The Jew to fill a gap in the Italian narrative, caused by 
the omission of a crude and undramatic portion, the lady's 
test of her suitors. The English playwright found this 
Casket Story, no doubt, in the Gesta Romanorum, probably 
in Robinson's translation, issued in six editions between 
1577 and 1601. Dr. Furness reprints the pertinent parts of 
this translation from Collier's Shakespeare^ s Library. 

There is another work which may perhaps have contrib- 
uted to Shakespeare's Merchaiit. In 1596 was published a 
book called The Orator, " written in French by Alexander 
Silvayn, and Englished by L. P." It consists of a set of 
"declamations " or arguments. Declamation 95, "Of a Jew, 
who would for his debt have a pound of the flesh of a 
Christian," puts the case of Shylock and Antonio (of course 
without names), first from the Jew's and afterward from 
the Merchant's point of view. This fact has influenced the 
conclusions of some editors as to the date of The Merchant; 
yet it seems to have no real bearing on that question, since 
there is nothing in the nature of the relation between the 
two works to determine which was the earlier. 

It can hardly be said that Marlowe's Jew of Malta, written 
about 1590, gave Shakespeare hints for his Merchant. The 
plots of the two plays are very different ; and Marlowe's 
treatment of the character of Barabas contrasts strongly 
with Shakespeare's presentation of Shylock. It is natural, 
from the similarity of the general subject, that a few terms, 
situations, and reflections should be common to both. The 
plays may be read together, to show, not Shakespeare's 
likeness to Marlowe, but his difference from that splendid 
yet misguided master. 

There existed a practical reason for Shakespeare's produc- 
ing The Merchant of Venice between 1594 and 1596 or at 
latest 1598. If the public displayed interest in a certain 
subject, managers and playwrights were ready, in that day 



INTRODUCTION xix 

as in this, to supply the demand. In 1594 Roderigo Lopez, 
an old Jewish physician of high standing, who had been 
employed by the Earl of Leicester and by Queen Elizabeth 
herself, was hanged in London for treasonable practices. 
There can be little doubt that Lopez had agreed to share in 
a Spanish plot against Antonio Perez, a pretender to the 
throne of Portugal, then living in London ; but it was not 
really proved that he had plotted against the Queen. Lopez 
appears to have been a man of remarkable ability. The 
popular prejudice against him was very great, and many 
accounts of his ^' treason " were published. It is possible 
that Shakespeare knew the man; he certainly knew inti- 
mately Lord Southampton, a friend of the Earl of Essex; 
and Essex had formerly been the associate, and Avas finally 
the accuser, of Lopez. Whether or not we believe that per- 
sonal knowledge of one intellectual and embittered Jew 
assisted Shakespeare in his creation of Shylock, we may 
readily conclude that public interest in the affair of Lopez 
drew the dramatist's attention to the subject. And it may 
have been chiefly this which induced him to remodel the old 
play called The Jew. 

VIII. BASIS OF THE TEXT 

During Shakespeare's lifetime two important quarto edi- 
tions of The Merchant were published, both in the year 1600. 
The First Quarto was issued by James Eobertes, and the 
Second Quarto by Thomas Heyes. In 1623 The Merchant 
was included in the First Folio. Examination shows the 
Folio text to be a reprint of the Second Quarto. 

The present edition follows, except in rare cases to which 
attention is called in the explanatory notes, the text of the 
Globe Shakespeare, edited by William George Clark and 
William Aldis Wright, 1864. The Globe Editors have 
based their work on the First Quarto. 



XX INTRODUCTION 

IX. TEST QUESTIONS 

It has been the aim, in the present edition, to offer 
material for a thorough study of The Merchant of Venice. 
The arrangement of such material has, however, been gov- 
erned by the consideration that in many schools it would 
be found desirable to take up the play for " reading " only, 
as that term is understood by the Committee on College 
Requirements. For '^ reading " the teacher will do well to 
drop all the latter part of the Introduction, and to use but 
a sparing selection from each set of notes. For " study," 
all the appliances may be fully used. The test questions 
here presented conform to these two types of work. 

I. — For Keading 

Requirement : " The candidate will be required to present evi- 
dence of a general knowledge of the subject-matter, and to answer 
simple questions on the lives of the authors. The form of examina- 
tion will usually be the writing of a paragraph or two on each of 
several topics, to be chosen by the candidate from a considerable 
number." 

Topics for Composition 

A. 1. The Friendship of Antonio and Bassanio. 

2. The Character of Portia. 

3. The Story of Lorenzo and Jessica. 

4. An Explanation of Shylock's Point of View. 

5. A Brief Account of the Trial Scene. 

B. 1. The Relations between Antonio and Shylock. 

2. The Contrast between Morocco and Arragon. 

3. The Story of Bassanio and Portia. 

4. The Decision of Doctor Balthasar. 

5. The Jest of the Rings. 

C. 1. The Contrast between Gratiano and Antonio. 

2. The Character and Fortunes of Launcelot Gobbo. 

3. The Intention of Portia's Father, in the Test of the Caskets. 

4. The Growth of Shylock's Purpose in regard to the Bond. 

5. Description of the Final Scene at Behnont. 



INTRODUCTION XXI 

II. — For Study 

A. 1. Comment on the sadness of Antonio; on the nature of his 

feeling for Bassanio. 

2. Prove that Bassanio was not moved solely by a desire for 

Portia's wealth. 

3. State the causes for Shylock's hatred of Antonio. Which 

do you consider most potent in influencing his action? 

4. What contemporaneous events may have led Shakespeare to 

produce a play in which one of the central figures is a Jew ? 

5. In what ways may the following lines be scanned and read? 

** Not in love neither? Then let us say you are sad 
Because you are not merry : and 'twere as easy 
For you to laugh and leap and say you are merry 
• Because you are not sad. Now, by two-headed Janus, 

Nature hath framed strange fellows in her time." 

6. Who speaks the following lines ? 

" "What, must I hold a candle to my shames? 
They in themselves, good sooth, are too too light." 

Explain them, and show what trick of Elizabethan speech 
they illustrate. 

B. 1. State the two opposite theories of the original purpose of 

Shylock in proposing the bond, and the arguments in 
favor of each. 

2. What place does Gobbo fill in the play? Explain the 

development of this conventional figure. 

3. What may have been Shakespeare's intention in contrasting 

Morocco and Arragon? 

4. From what source did Shakespeare probably derive the 

combination of the bond and casket stories ? From what 
source does he appear to have taken the details of the 
bond story ? 

5. How would you scan and read the following lines? 

"What many men desire ! that ' many ' may be meant 
By the fool multitude, that choose by show. 
Not learning more than the fond eye doth teach, 
Which pries not to the interior, but, like the martlet. 
Builds in the weather on the outward wall." 



XXll INTRODUCTION 

6. Point out the Elizabethan idiom in the first two lines. How 
would the same idea be expressed to-day ? Explain fool 
multitude^ martlet. 

C. 1. What are Portia's distinguishing characteristics? Give 
instances in which these appear, using, as far as possible, 
the language of the play. 

2. Sketch, in the same way, the character of Jessica. In what 

point are Jessica and Portia most strongly contrasted? 

3. What differentiates Lorenzo, throughout the play, from the 

other minor characters? What are the most marked 
traits of Gratiano ? 

4. What other important play of the Elizabethan time, still 

in existence, introduces a Jew as one of its principal 
characters ? What appears to be Shakespeare's attitude 
toward the persons whom he sets before us in the present 
play? What is the place of The Merchant of Venice in 
his development as a dramatist ? 

5. Explain italicized words in the following passage : — 

" Thus ornament is but the gidled shore 
To a most dangerous sea ; the beauteous scarf 
Veiling an Indian beauty ; in a word, 
The seeming truth which cunning times put on 
To entrap the wisest. Therefore, thou gaudy gold, 
Hard food for Midas, I will none of thee." 

6. Scan the first and fifth lines of the passage just given. Com- 

ment on the change of measure in the lines beginning, 
" All that glisters is not gold." 




The Globe Theatre, London. 



THE MERCHANT OF VENICE 



DRAMATIS PERSON.^ 

The Duke of Venice. 

The Prince of Morocco, i . ^ . 

^, „ A . ^ suitors to Portia. 

The Prince of Arragon, j 

Antonio, a merchant of Venice. 

Bassanio, his friend, suitor likewise to Portia. 

Salanio, 1 

Salarino, > friends to Antonio and Bassanio. 

Gratiano, J 

Lorenzo, in love with Jessica. 

Shylock, a rich Jew. 

Tubal, a Jew, his friend. 

Launcelot Gobbo, the clown, servant to Shylock. 

Old Gobbo, father to Launcelot. 

Leonardo, servant to Bassanio. 

BALTHASAR, ) i. + T3 4-- 

' ' servants to Portia. 
Stephano, ) 

Portia, a rich heiress. 

Nerissa, her waiting-maid. 

Jessica, daughter to Shylock. 

Magnificoes of Venice, Officers of the Court of Justice, Gaoler, Servants 
to Portia, and other Attendants. 



Scene: Partly at Venice, and partly at Belmont,^ the seat 
of Portia, on the Continent. 

1 "Dr. Karl Elze maintains that Belmont must have been on the banks 
oftheBrenta; and Th. Elze . . . narrows the locality to the neighborhood 
of Dolo, around which, from La Mira to Stra, on both banks of the Brenta, 
the magnificoes of Venice had, and still have, their palatial residences. . . . 
Belmont must be supposed to have been not far from the high road between 
Padua and Fusina." — Dr. Furness. 



THE MERCHANT OF VENICE 

ACT I 

Scene I. Venice. A street 
Enter Antonio, Salarino, and Salanio. 

Ant. In sooth, I know not why I am so sad : 
It Wearies me ; you say it wearies yoii ; 
But how I caught it, found it, or came by it. 
What stuff 'tis made of, whereof it is born, 

5 I am to learn ; 
And such a want- wit sadness makes of me. 
That I have much ado to know myself. 

Solar. Your mind is tossing on the ocean ; 
There where your argosies with portly sail, 

10 Like signiors and rich burghers on the flood, 
Or, as it were, the pageants of the sea. 
Do overpeer the petty trafiickers. 
That curtsy to them, do them reverence. 
As they fly by them with their woven wings. 

15 jSalan. Believe me, sir, had I such venture forth. 
The better part of my affections Avould 
Be with my hopes abroad. I should be still 
Plucking the grass, to know where sits the w4nd. 
Peering in maps for ports and piers and roads ; 

20 And every object that might make me fear 
Misfortune to my ventures, out of doubt 
Would make me sad. 

Salar. My wind cooling my broth 

Would blow me to an ague, when I thought 

B 3 



4 THE MERCHANT OF VENICE 

What harm a wind too great at sea might do. 
25 I should not see the sandy hour-glass run, 

But I should think of shallows and of flats, 

And see my wealthy Andrew dock'd in sand, 

Vailing her high-top lower than her ribs 

To kiss her burial. Should I go to church 
30 And see the holy edifice of stone. 

And not bethink me straight of dangerous rocks, 

Which touching but my gentle vessel's side. 

Would scatter all her spices on the stream, . 

Enrobe the roaring waters with my silks, 
35 And, in a word, but even now worth this. 

And now worth nothing ? Shall I have the thought 

To think on this, and shall I lack the thought 

That such a thing bechanced would make me sad ? 

But tell not me ; I know, Antonio 
40 Is sad to think upon his merchandise. 

Ant. Believe me, no : I thank my fortune for it, 

My ventures are not in one bottom trusted, 

Nor to one place ; nor is my whole estate 

Upon the fortune of this present year : 
45 Therefore my merchandise makes me not sad. 
Solar. Why, then you are in love. 
Ant. Fie, fie ! 

Solar. Not in love neither ? Then let us say you are sad, 

Because you are not merry : and 'twere as easy 

For you to laugh and leap and say you are merry, 
50 Because you are not sad. Now, by two-headed Janus, 

Nature hath framed strange fellows in her time : 

Some that will evermore peep through their eyes 

And laugh like parrots at a bag-piper. 

And other of such vinegar aspect 
55 That they'll not show their teeth in way of smile. 

Though Nestor swear the jest be laughable. 



ACT I. SCENE I b 



Enter Bassanio, Lorenzo, and Gratiano. 

Solan. Here comes Bassanio, your most noble kinsman, 
Gratiano, and Lorenzo. Tare ye well : 
We leave you now with better company. 
60 Salar. I would have stay'd till I had made you merry, 
If worthier friends had not prevented me. 

Ant. Your worth is very dear in my regard. 
I take it, your own business calls on you 
And you embrace the occasion to depart. 
65 Salar. Good morrow, my good lords. 

Bass. Good signiors both, when shall we laugh ? say, 
when ? 
You grow exceeding strange : must it be so ? 

Salar. We'll make our leisures to attend on yours. 

\_Exeant Salariisto and Salanio. 
Lor. My Lord Bassanio, since you have found Antonio, 
70 We two will leave you : but at dinner-time, 
I pray you, have in mind where we must meet. 
Bass. I will not fail you. 
Gra. You look not well, Signior Antonio ; 
You have too much respect upon the world : 
75 They lose it that do buy it with m ach care : 
Believe me, you are marvellously changed. 

Ant. I hold the world but as the world, Gratiano ; 
A stage where every man must play a part, 
And mine a sad one. 

Gra. Let me play the fool : 

80 AVith mirth and laughter let old wrinkles come. 
And let my liver rather heat with wine 
Than my heart cool with mortifying groans. 
Why should a man, whose blood is warm within, 
Sit like his grandsire cut in alabaster ? 
85 Sleep when he wakes and creeps into the jaundice 



6 THE MERCHANT OF VENICE 

By being peevish ? I tell thee what, Antonio — 

I love thee, and it is my love that speaks — 

There are a sort of men whose visages 

Do cream and mantle like a standing pond, 
90 And do a wilfnl stillness entertain, 

With purpose to be dress'd in an opinion 

Of wisdom, gravity, profound conceit, 

As who should say " I am Sir Oracle, 

And when I ope my lips let no dog bark ! '^ 
95 O my Antonio, I do knov/ of these 

That therefore only are reputed wise 

For saying nothing, when, I am very sure. 

If they should speak, would almost damn those ears 

"Which, hearing them, would call their brothers fools. 
100 I'll tell thee more of this another time : 

But fish not, with this melancholy bait, 

For this fool gudgeon, this opinion. 

Come, good Lorenzo. Fare ye well awhile : 

I'll end my exhortation after dinner. 
105 Lor. Well, we will leave you then till dinner-time: 

I must be one of these same dumb wise men. 

For Gratiano never lets me speak. 

Gra. Well, keep me company but two years moe, 

Thou shalt not know the sound of thine own tongue. 
110 Ayit. Farewell : I'll grow a talker for this gear. 

Gra. Thanks, i' faith, for silence is only commendable 

In a neat's tongue dried and a maid not vendible. 

\_Exeunt Gkatiano and Lorenzo. 
Ant. Is that any thing now ? 

Bass. Gratiano speaks an infinite deal of nothing, more 
115 than any man in all Venice. His reasons are as two grains 

of wheat hid in two bushels of chaff : you shall seek all day 

ere you find them, and when you have them, they are not 

worth the search. 

Ant. Well, tell me now what lady is the same 



ACT I. SCENE I 

120 To whom you swore a secret pilgrimage, 
That you to-day promised to tell me of ? 

Bass. 'Tis not unknown to you, Antonio, 
How much I have disabled mine estate, 
By something showing a more swelling port 

125 Than my faint means would grant continuance : 
Nor do I now make moan to be abridged 
From such a noble rate ; but my chief care 
Is to come fairly off from the great debts 
Wherein my time something too prodigal 

130 Hath left me gaged. To you, Antonio, 
I owe the most, in money and in love. 
And from your love I have a warranty 
To unburd.en all my plots and purposes 
How to get clear of all the debts I owe. 

135 Ant. I pray you, good Bassanio, let me know it ; 
And if it stand, as you yourself still do, 
Within the eye of honour, be assured. 
My purse, my person, my extremest means, 
Lie all unlock'd to your occasions. 

140 Bass. In my school-days, when I had lost one shaft, 
I shot his fellow of the self-same flight 
The self-same way with more advised watch, 
To find the other forth, and by adventuring both 
I oft found both : I urge this childhood proof, 

145 Because what follows is pure innocence. 
I owe you much, and, like a wilful youth. 
That which I owe is lost ; but if you please 
To shoot another arrow that self way 
Which you did shoot the first, I do not doubt, 

150 As I will watch the aim, or to find both 
Or bring your latter hazard back again 
And thankfully rest debtor for the first. 

Ant. You know me well, and herein spend but time 
To wind about my love with circumstance ; 



8 THE MERCHANT OF VENICE 

155 And out of doubt you do me now more wrong 

In making question of my uttermost 

Than if you had made waste of all I have : 

Then do but say to me what I should do 

That in your knowledge may by me be done, 
160 And I am prest unto it : therefore, speak. 
Bass. In Belmont is a lady richly left ; 

And she is fair and, fairer than that word. 

Of wondrous virtues : sometimes from her eyes 

I did receive fair speechless messages : 
165 Her name is Portia, nothing undervalued 

To Cato's daughter, Brutus' Portia : 

Nor is the wide world ignorant of her worth, 

For the four winds blow in from every coast 

Eenowned suitors, and her sunny locks 
170 Hang on her temples like a golden fleece ; 

Which makes her seat of Belmont Colchos' strand. 

And many Jasons come in quest of her. 

my Antonio, had I but the means 

To hold a rival place with one of them, 
175 I have a mind presages me such thrift, 

That I should questionless be fortunate ! 

Ant. Thou know'st that all my fortunes are at sea ; 

Neither have I money nor commodity 

To raise a present sum : therefore go forth ; 
180 Try what my credit can in Venice do : 

That shall be rack'd, even to the uttermost. 

To furnish thee to Belmont, to fair Portia. 

Go, presently inquire, and so will I, 

Where money is, and I no question make 
185 To have it of my trust or for my sake. [Exeunt. 



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PORTIA. 



ACT I. SCENE II 9 

ScEisTE II. Belmont. A room in Portia's liouse 

Enter Portia ayid Nerissa. 

For. By my troth, Nerissa, my little body is aweary of 
this great world. 

Ner. You would be, sweet madam, if your miseries were 
in the same abundance as your good fortunes are : and yet, 

5 for aught I see, they are as sick that surfeit with too much 
as they that starve with nothing. It is no mean happiness 
thoi'efore, to be seated in the mean : superfluity comes sooner 
by white hairs, but competency lives longer. 
Por. Good sentences and well pronounced. 

10 Ner. They would be better, if well followed. 

Por. If to do were as easy as to know what were good 
to do, chapels had been churches and poor men's cottages 
princes' palaces. It is a good divine that follows his own 
instructions : I can easier teach twenty what were good to 

15 be done, than be one of the twenty to follow mine own 
teaching. The brain may devise laws for the blood, but a 
hot temper leaps o'er a cold decree : such a hare is madness 
the youth, to skip o'er the meshes of good counsel the 
cripple. But this reasoning is not in the fashion to choose 

20 me a husband. O me, the word "choose!" I may neither 
choose whom I would nor refuse whom I dislike ; so is the 
will of a living daughter curbed by the will of a dead father. 
Is it not hard, Nerissa, that I cannot choose one nor refuse 
none ? 

25 Ner. Your father was ever virtuous ; and holy men at 
their death have good inspirations : therefore the lottery, 
that he hath devised in these three chests of gold, silver, and 
lead, whereof who chooses his meaning chooses you, will, no 
doubt, never be chosen by any rightly but one who shall 

30 rightly love. But what warmth is there in your affection 



10 THE MERCHANT OF VENICE 

towards any of these princely suitors that are already 
come ? 

Por. I pray thee, over-name them ; and as thou namest 
them, I will describe them ; and, according to my descrip- 

35 tion, level at my affection. 

Ner. First, there is the Neapolitan prince. 
Por. Ay, that's a colt indeed, for he doth nothing but 
talk of his horse ; and he makes it a great appropriation to 
his own good parts, that he can shoe him himself. 

40 Ner. Then there is the County Palatine. 

Por. He doth nothing but frown, as who should say " If 
you will not have me, choose : " he hears merry tales and 
smiles not: I fear he will prove the weeping philosopher 
when he grows old, being so full of unmannerly sadness 

45 in his youth. I had rather be married to a death's-head 
with a bone in his mouth than to either of these. God 
defend me from these two ! 

Ner. How say you by the French lord. Monsieur Le Bon ? 
Por. God made him, and therefore let him pass for a 

50 man. In truth, I know it is a sin to be a mocker : but, he ! 
why, he hath a horse better than the Neapolitan's, a better 
bad habit of frowning than the Count Palatine ; he is every 
man in no man ; if a throstle sing, he falls straight a-caper- 
ing : he will fence with his owii shadow : if I should marry 

55 him, I should marry twenty husbands. If he would despise 
me, I would forgive him, for if he love me to madness, I 
shall never requite him. 

Ner. What say you, then, to Falconbridge, the young 
baron of England ? 

60 Por. You know I say nothing to him, for he understands 
not me, nor I him : he hath neither Latin, French, nor 
Italian, and you will come into the court and swear that I 
have a poor pennyworth in the English. He is a proper 
man's picture, but, alas, who can converse with a dumb 

65 show ? How oddly he is suited ! I think he bought his 



ACT I. SCENE II 11 

doublet in Italy, his round hose in France, his bonnet in 
Germany and his behaviour everywhere. 

Ner. What think you of the Scottish lord, his neighbour ? 

Por. That he hath a neighbourly charity in him, for he 
70 borrowed a box of the ear of the Englishman and swore he 
would pay him again when he was able : I think the French- 
man became his surety and sealed under for another. 

Ner. How like you the young German, the Duke of 
Saxony's nephew ? 
75 Por. Very vilely in the morning, when he is sober, and 
most vilely in the afternoon, when he is drunk : when he is 
best, he is a little worse than a man, and when he is worst, 
he is little better than a beast : and the worst fall that ever 
fell, I hope I shall make shift to go without him. 
80 Ner. If he should offer to choose, and choose the right 
casket, you should refuse to perform your father's will, if 
you should refuse to accept him. 

Por. Therefore, for fear of the worst, I pray thee, set a 

deep glass of Ehenish wine on the contrary casket, for if 

85 the devil be within and that temptation without, I know 

he will choose it. I will do anything, Nerissa, ere I'll be 

married to a sponge. 

Ner. You need not fear, lady, the having any of these 

lords : they have acquainted me with their determinations ; 

90 which is, indeed, to return to their home and to trouble you 

with no more suit, unless you may be won by some other 

sort than your father's imposition depending on the caskets. 

Por. If I live to be as old as Sibylla, I will die as chaste 

as Diana, unless I be obtained by the manner of my father's 

95 will. I am glad this parcel of wooers are so reasonable, for 

there is not one among them but I dote on his very absence, 

and I pray God grant them a fair departure. 

Ner. Do you not remember, lady, in your father's time, 
a Venetian, a scholar and a soldier, that came hither in 
100 company of the Marquis of Montferrat ? 



12 THE MERCHANT OF VENICE 

For. Yes, yes, it was Bassanio; as I think, he was so 
called. 

Ner. True, madam : he, of all the men that ever my fool- 
ish eyes looked upon, was the best deserving a fair lady. 
105 Por. I remember him well, and I remember him worthy 
of thy praise. 

Enter a Serving-man. 

How now ! what news ? 

Serv. The four strangers seek for you, madam, to take 
their leave: and there is a forerunner come from a fifth, the 
110 Prince of Morocco, who brings word the prince his master 
will be here to-night. 

Por. If I could bid the fifth welcome with so good a 

heart as I can bid the other four farewell, I should be glad 

of his approach : if he have the condition of a saint and the 

115 complexion of a devil, I had rather he should shrive me 

than wive me. 

Come, Nerissa. Sirrah, go before. 

Whiles we shut the gates upon one wooer, another knocks 
at the door. \_Exeunt. 

Scene III. Venice. A public place 
Enter Bassanio and Shylock. 

Shy. Three thousand ducats ; well. 

Bass. Ay, sir, for three months. 

Shy. For three months ; well. 

Bass. For the which, as I told you, Antonio shall be bound. 
5 Shy. Antonio shall become bound ; well. 

Bass. May you stead me ? will you pleasure me ? shall I 
know your answer ? 

Shy. Three thousand ducats for three months and An- 
tonio bound. 



ACT I. SCENE III 13 

10 Bass. Your answer to that. 
SJiy. Antonio is a good man. 

Bass. Have you heard any imputation to the contrary ? 
Shy. Oh, no, no, no, no : my meaning in saying he is a 
good man is to have you understand me that he is sufficient. 
15 Yet his means are in supposition : he hath an argosy bound 
to Tripolis, another to the Indies ; I understand, moreover, 
upon the Rialto, he hath a third at Mexico, a fourth for 
England, and other ventures he hath, squandered abroad. 
But ships are but boards, sailors but men: there be land- 
20 rats and water-rats, water-thieves and land-thieves, I mean 
pirates, and then there is the peril of waters, winds and 
rocks. The man is, notwithstanding, sufficient. Three 
thousand ducats ; I think I may take his bond. 
Bass. Be assured you may. 
25 Shy. I will be assured I may; and, that I may be as- 
sured, I will bethink me. May I speak with Antonio ? 
Bass. If it please you to dine with us. 
Shy. Yes, to smell pork ; to eat of the habitation which 
your prophet the Nazarite conjured the devil into. I will 
30 buy with you, sell with you, talk with you, walk with you, 
and so following, but I will not eat with you, drink with 
you, nor pray with you. What news on the Rialto ? Who 
is he comes here ? 

Enter Antonio. 

Bass. This is Signior Antonio. 
35 Shy. [Aside'] How like a fawning publican he looks ! 

I hate him for he is a Christian, 

But more for that in low simplicity 

He lends out money gratis and brings down 

The rate of usance here with us in Venice. 
40 If I can catch him once upon the hip, 

I will feed fat the ancient grudge I bear him. 

He hates our sacred nation, and he rails, 



14 THE MERCHANT OF VENICE 

Even there where merchants most do congregate, 

On me, my bargains and my well-won thrift, 
45 Which he calls interest. Cursed be my tribe. 

If I forgive him ! 

Bass. Shylock, do you hear ? 

Shy. I am debating of my present store. 

And, by the near guess of my memory, 

I cannot instantly raise up the gross 
50 Of full three thousand ducats. What of that ? 

Tubal, a wealthy Hebrew of my tribe. 

Will furnish me. But soft ! how many months 

Do you desire ? [To Ant.^ Rest you fair, good signior; 

Your worship was the last man in our mouths. 
55 Ant. Shylock, although I neither lend nor borrow 

By taking nor by giving of excess, 

Yet to supply the ripe wants of my friend, 

I'll break a custom. Is he yet possess'd 

How much ye would ? 

Shy. Ay, ay, three thousand ducats. 

60 Ant. And for three months. 

Shy. I had forgot ; three months ; you told me so. 

Well then, your bond ; and let me see ; but hear you ; 

Me thought you said you neither lend nor borrow 

Upon advantage. 

A7it. I do never use it. 

65 Shy. When Jacob grazed his uncle Laban's sheep — 

This Jacob from our holy Abram was. 

As his wise mother wrought in his behalf, 

The third possessor ; ay, he was the third — 
A7it. And what of him ? did he take interest ? 
70 Shy. No, not take interest, not, as you would say. 

Directly interest : mark what Jacob did. 

When Laban and himself were compromised 

That all the eanlings which were streak'd and pied 

Should fall as Jacob's hire, 



ACT I. SCENE III 15 

75 The skilful shepherd peel'd me certain wands, 

And stuck them up before the fulsome ewes, 

Who then conceiving did in eaning time 

Fall parti-colour'd lambs, and those were Jacob's. 

This was a way to thrive, and he was blest : 
80 And thrift is blessing, if men steal it not. 

Ant. This was a venture, sir, that Jacob served for ; 

A thing not in his power to bring to pass, 

But sway'd and fashion'd by the hand of heaven. 

Was this inserted to make interest good ? 
85 Or is your gold and silver ewes and rams ? 

Shy. I cannot tell ; I make it breed as fast ; 

But note me, signior. 

Ant. Mark you this, Bassanio, 

The devil can cite Scripture for his purpose. 

An evil soul producing holy witness 
90 Is like a villain with a smiling cheek, 

A goodly apple rotten at the heart : 

O, what a goodly outside falsehood hath ! 

Shy. Three thousand ducats ; 'tis a good round sum. 

Three months from twelve ; then, let me see ; the rate — 
95 Ant. Well, Shylock, shall we be beholding to you ? 
Shy. Signior Antonio, many a time and oft 

In the Rialto you have rated me 

About my moneys and my usances : 

Still have I borne it with a patient shrug, 
100 For sufferance is the badge of all our tribe. 

You call me misbeliever, cut-throat dog, 

And spit upon my Jewish gaberdine, i 

And all for use of that which is mine own. f 

Well then, it now appears you need my help : 
105 Go to, then ; you come to me, and you say, 

" Shylock, we would have moneys : " you say so ; 

You, that did void your rheum upon my beard 

And foot me as you spurn a stranger cur 



16 THE MERCHANT OF VENICE 

Over your threshold : moneys is your suit. 
110 What should I say to you ? Should I not say 

'^ Hath a dog money ? is it possible 

A cur can lend three thousand ducats ? " Or 

Shall I bend low and in a bondman's key, 

With bated breath and whispering humbleness, 
115 Say this: 

" Fair sir, you spit on me on Wednesday last -, 

You spurn'd me such a day ; another time 

You call'd me dog ; and for these courtesies 

I'll lend you thus much moneys " ? 
120 Ant. I am as like to call thee so again, 

To spit on thee again, to spurn thee too. 

If thou wilt lend this money, lend it not 

As to thy friends ; for when did friendship take 

A breed for barren metal of his friend ? 
125 But lend it rather to thine enemy. 

Who, if he break, thou may est with better face 

Exact the penalty. 

Shy. Why, look you, how you storm ! 

I would be friends with you and have your love. 

Forget the shames that you have stain' d me with, 
130 Supply your present wants and take no doit 

Of usance for my moneys, and you'll not hear me: 

This is kind I ofter. 

Bass. This were kindness. 

Shy. ■ This kindness will I show. 

Go with me to a notary, seal me there 
135 Your single bond ; and, in a merry sport. 

If you repay me not on such a day. 

In such a place, such sum or sums as are 

Express'd in the condition, let the forfeit 

Be nominated for an equal pound 
140 Of your fair flesh, to be cut off and taken 

In what part of your body pleaseth me. 



ACT I. SCENE III 17 

Ant Content, i' faith : I'll seal to such, a bond, 
And say there is much kindness in the Jew. 

Bass. You shall not seal to such a bond for me : 
145 I'll- rather dwell in my necessity. 

Ant. Why, fear not, man ; I will not forfeit it: 
Within these two months, that's a month before 
This bond expires, I do expect return 
Of thrice three times the value of this bond. 
150 Shy. father Abram, what these Christians are, 
Whose own hard dealings teaches them suspect 
The thoughts of others ! Pray you, tell me this ; 
li he should breal^ his day, what should I gain 
By the exaction of the forfeiture ? 
155 A pound of man's flesh taken from a man 
Is not so estimable, profitable neither. 
As flesh of muttons, beefs, or goats. I say. 
To buy his favour, I extend this friendship : 
If he will take it, so ; if not, adieu : 
160 And, for my love, I pray you wrong me not. 

Ayit. Yes, Shylock, I will seal unto this bond. 
/Shy. Then meet me forthwith at the notary's ; 
Give him direction for this merry bond. 
And I will go and purse the ducats straight, 
165 See to my house, left in the fearful guard 
Of an unthrifty knave, and presently 
I will be with you. 

Ant. Hie thee, gentle Jew. \^Exit Shylock. 

The Hebrew will turn Christian : he grows kind. 
170 Bass. I like not fair terms and a villain's mind. 
Ant. Come on : in this there can be no dismay ; 
My ships come home a month before the day. 

^Exeunt. 



18 THE MERCHANT OF VENICE 



ACT II 

Scene I. Belmont. A room in Portia's liouse 

Flourish of cornets. Enter the Prince of Morocco and his 
train; Portia, Nerissa, and others attending. 

Mor. Mislike me not for my complexion, 

The shadow'd livery of the burnish'd sun, 

To whom I am a neighbour and near bred.^ 

Bring me the fairest creature northward born, 
5 Where Phoebus' fire scarce thaws the icicles. 

And let us make incision for your love. 

To prove whose blood is reddest, his or mine. 

I tell thee, lady, this aspect of mine 

Hath fear'd the valiant : by my love, I swear 
10 The best-regarded virgins of our clime 

Have loved it too : I would not change this hue, 

Except to steal your thoughts, my gentle queen. 
Por. In terms of choice I am not solely led 

By nice direction of a maiden's eyes ; 
15 Besides, the lottery of my destiny 

Bars me the right of voluntary choosing : 

But if my father had not scanted me 

And hedged me by his wit, to yield myself 

His wife who wins me by that means I told you, 
20 Yourself, renowned prince, then stood as fair 

As any comer I have look'd on yet 

For my affection. 

Mor. Even for that I thank you : 

Therefore, I pray you, lead me to the caskets 

To try my fortune. By this scimitar 
25 That slew the Sophy and a Persian prince 



ACT II. SCENE II 19 

That won three fields of Sultan Solyman, 
I would outstare the sternest eyes that look, 
Outbrave the heart most daring on the earth, 
Pluck the young sucking cubs from the she-bear, 
30 Yea, mock the lion when he roars for prey, 
To win thee, lady. But, alas the while ! 
If Hercules and Lichas play at dice 
Which is the better man, the greater throw 
May turn by fortune from the weaker hand: 
35 So is Alcides beaten by his page ; 

And so may I, blind fortune leading me, 
Miss that which one unworthier may attain. 
And die with grieving. 

Por. You must take your chance, 

And either not attempt to choose at all 
40 Or swear before you choose, if you choose wrong 
Never to speak to lady afterward 
In way of marriage : therefore be advised. 

Mor. Nor will not. Come, bring me unto my chance. 
Por. First, forward to the temple : after dinner 
45 Your hazard shall be made. 

Mor. Good fortune then ! 

To make me blest or cursed'st among men. 

\_Cornets, and exeunt. 

Scene II. Venice. A street 

Enter Launcelot. 

Laun. Certainly my conscience will serve me to run from 
this Jew my master. The fiend is at mine elbow and tempts 
me, saying to me " Oobbo, Launcelot Gobbo, good Launce- 
lot," or " good Gobbo," or " good Launcelot Gobbo, use your 
5 legs, take the start, run away." My conscience says " No ; 
take heed, honest Launcelot ; take heed, honest Gobbo," or, as 



20 THE MERCHANT OF VENICE 

aforesaid, " honest Laimcelot Gobbo ; do not run ; scorn 
running with thy heels." Well, the most courageous fiend 
bids me pack : " Via ! " says the fiend 5 " away ! " says the 

10 fiend; " for the heavens, rouse up a brave mind," says the 
fiend, "and run." AVell, my conscience, hanging about 
the neck of my heart, says very wisely to me " My honest 
friend Launcelot, being an honest man's son," or rather an 
honest woman's son ; for, indeed, my father did something 

15 smack, something grow to, he had a kind of taste; well, my 
conscience says ''Launcelot, budge not." ''Budge," says 
the fiend. " Budge not," says my conscience. " Conscience," 
say I, " you counsel well ; " " Fiend," say I, " you counsel 
well : " to be ruled by my conscience, I should stay with the 

20 Jew my master, who, G-od bless the mark, is a kind of devil ; 
and, to run away from the Jew, I should be ruled by the 
fiend, who, saving your reverence, is the devil himself. Cer- 
tainly the Jew is the very devil incarnal; and, in my con- 
science, my conscience is but a kind of hard conscience, to 

25 offer to counsel me to stay with the Jew. The fiend gives 
the more friendly counsel : I will run, fiend ; my heels are 
at your command ; I will run. 

Enter Old Gobbo, with a basket. 

Gob. Master young man, you, I pray you, which is the 

way to master Jew's ? 
30 Laun. l^Aside'] heavens, this is my true-begotten father ! 

who, being more than sand-blind, high-gravel blind, knows 

me not : I will try confusions with him. 

Gob. Master young gentleman, I pray you, which is the 

way to master Jew's ? 
35 Laun. Turn up on your right hand at the next turning, 

but, at the next turning of all, on your left ; marry, at the 

very next turning, turn of no hand, but turn down indirectly 

to the Jew's house. 



ACT II. SCENE II 21 

Gob. By God's sonties, 'twill be a hard way to hit. Can 
40 you tell me whether one Launcelot, that dwells with him, 
dwell with him or no ? 

Laim. Talk you of young Master Launcelot? \_Aside] 
Mark me now ; now will I raise the waters. Talk you of 
young Master Launcelot ? 
45 Goh. No master, sir, but a poor man's son : his father, 
though I say it, is an honest exceeding poor man and, God 
be thanked, well to live. 

Laun. Well, let his father be what a' will, we talk of 
young Master Launcelot. 
50 Gob. Your worship's friend and Launcelot, sir. 

Laun. But I pray you, ergo, old man, ergo, I beseech 
you, talk you of young Master Launcelot ? 

Gob. Of Launcelot, an't please your mastership. 

Laun. Ergo, Master Launcelot. Talk not of Master 

55 Launcelot, father ; for the young gentleman, according to 

Fates and Destinies and such odd sayings, the Sisters Three 

and such branches of learning, is indeed deceased, or, as 

you would say in plain terms, gone to heaven. 

Gob. Marry, God forbid ! the boy was the very staff of 
60 my age, my very prop. 

, Laun. Do I look like a cudgel or a hovel-post, a staff or 
a prop ? Do you know me, father ? 

Gob. Alack the day, I know you not, young gentleman : 
but, I pray you, tell me, is my boy, God rest his soul, alive 
65 or dead ? 

Laun. Do you not know me, father ? 
Gob. Alack, sir, I am sand-blind; I know you not. 
Laun. Nay, indeed, if you had your eyes, you might fail 
of the knowing me : it is a wise father that knows his own 
70 child. Well, old man, I will tell you news of your son : 
give me your blessing: truth will come to light; murder 
cannot be hid long ; a man's son may, but at the length truth 
will out. 



22 THE MERCHANT OF VENICE 

Ooh. Pray you, sir, stand up : I am sure you are not 
75 Launcelot, my boy. 

Laun. Pray you, let's have no more fooling about it, but 
give me your blessing : I am Launcelot, your boy that was, 
your son that is, your child that shall be. 

Ooh. I cannot think you are my son. 
80 Laun. I know not what I shall think of that : but I am 
Launcelot, the Jew's man, and I am sure Margery your 
wife is my mother. 

Gob. Her name is Margery, indeed : I'll be sworn, if thou 

be Launcelot, thou art mine own flesh and blood. Lord wor- 

85 shipped might he be ! what a beard hast thou got ! thou hast 

got more hair on thy chin than Dobbin my fill-horse has on 

his tail. 

Laun. It should seem, then, that Dobbin's tail grows 
backward : I am sure he had more hair of his tail than I 
90 have of my face when I last saw him. 

Gob. Lord, how art thou changed ! How dost thou and 
thy master agree ? I have brought him a present. How 
'gree you now ? 

Laun. Well, well : but for mine own part, as I have set 
95 up my rest to run away, so I will not rest till I have run 
some ground. My master's a very Jew : give him a pres- 
ent ! give him a halter : I am famished in his service ; you 
may tell every finger I have with my ribs. Father, I am 
glad you are come: give me your present to one Master 
100 Bassanio, who, indeed, gives rare new liveries : if I serve 
not him, I will run as far as God has any ground. rare 
fortune ! here comes the man : to him, father ; for I am a 
Jew, if I serve the Jew any longer. 

Eyiter Bassanio with Leonardo and other followers. 

Bass. You may do so: but let it be so hasted that supper 
105 be ready at the farthest by five of the clock. See these 



ACT II. SCENE II 23 

letters delivered; put the liveries to making, and desire 
Gratiano to come anon to my lodging. [_Exit a /Servant. 

Laim. To him, father. 

Gob. God bless your worship ! 
110 Bass. Gramercy ! wouldst thou aught with me ? 

Gob. Here's my son, sir, a poor boy, — 

Laim. Not a poor boy, sir, but the rich Jew's man ; that 
would, sir, as my father shall specify — 

Gob. He hath a great infection, sir, as one would say, to 
115 serve, — 

Laun. Indeed, the short and the long is, I serve the Jew, 
and have a desire, as my father shall specify — 

Gob. His master and he, saving your worship's reverence, 
are scarce cater-cousins — 
120 Laun. To be brief, the very truth is that the Jew, having 
done me wrong, doth cause me, as my father, being, I hope, 
an old man, shall f ratify unto you — 

Gob. I have here a dish of doves that I would bestow 
upon your worship, and my suit is — 
125 Laun. In very brief, the suit is impertinent to myself, as 
your worship shall know by this honest old man; and, 
though I say it, though old man, yet poor man, my father. 

Bass. One speak for both. What would you ? 

Laun. Serve you, sir. 
130 Gob. That is the very defect of the matter, sir. 

Bass. I know thee well ; thou hast obtain'd thy suit : 
Shylock thy master spoke with me this day. 
And hath preferr'd thee, if it be preferment 
To leave a rich Jew's service, to become 
135 The follower of so poor a gentleman. 

Laun. The old proverb is very well parted between my 
master Shylock and you, sir : you have the grace of God, 
sir, and he hath enough. 

Bass. Thou speak'st it well. Go, father, with thy son. 
140 Take leave of thy old master and inquire 



24 THE MERCHANT OF VENICE 

My lodging out. Give him a livery 

More guarded than his fellows' : see it done. 

Laun. Father, in. I cannot get a service, no; I have 
ne'er a tongue in my head. Well, if any man in Italy have 
145 a fairer table ! which doth offer to swear upon a book, I 
shall have good fortune. Go to, here's a simple line of life : 
here's a small trifle of wives : alas, fifteen wives is nothing ! 
eleven widows and nine maids is a simple coming in for one 
man : and then to 'scape drowning thrice, and to be in peril 
150 of my life with the edge of a feather-bed ; here are simple 
'scapes. Well, if Fortune be a woman, she's a good wench 
for this gear. Father, come ; I'll take my leave of the Jew 
in the twinkling of an eye. 

\^Exeu7it Launcelot aiid Old Gobbo. 
Bass. I pray thee, good Leonardo, think on this : 
155 These things being bought and orderly bestow'd, 
Return in haste, for I do feast to-night 
My best-esteem'd acquaintance : hie thee, go. 
Leon. My best endeavours shall be done herein. 

Enter Gratiano. 

Gra Where is your master ? 

Leon. Yonder, sir, he walks. lExit. 

160 Gra. Signior Bassanio ! 

Bass. Gratiano ! 

Gra. I have a suit to you. 

Bass. You have obtain'd it. 

Gra. You must not deny me: I must go with you to 
Belmont. 
165 Bass. Why, then you must. But hear thee, Gratiano ; 
Thou art too wild, too rude and bold of voice ; 
Parts that become thee happily enough 
And in such eyes as ours appear not faults ; 
But where thou art not known, why, there they show 




JESSICA. 



ACT II. SCENE III 25 

170 SometMng too liberal. Pray thee, take pain 
To allay with some cold drops of modesty 
Thy skipping spirit, lest through thy wild behaviour 
I be misconstrued in the place I go to 
And lose my hopes. 

Gra. Signior Bassanio, hear me 

175 If I do not put on a sober habit, 

Talk with resi3ect and swear but now and then, 
Wear prayer-books in my pocket, look demurely, 
Nay more, while grace is saying, hood mine eyes 
Thus with my hat, and sigh and say "amen," 

180 Use all the observance of civility, 
Like one well studied in a sad ostent 
To please his grandam, never trust me more. 
Bass. Well, we shall see your bearing. 
Ora. Nay, but I bar to-night : you shall not gauge me 

185 By what we do to-night. 

Bass. No, that were pity : 

1 would entreat you rather to put on 
Your boldest suit of mirth, for we have friends 
That purpose merriment. But fare you well : 
I have some business. 

190 Gra. And I must to Lorenzo and the rest : 

But we will visit you at supper-time. [^Exeunt. 

Scene III. The same. A room in Shylock's lioiise 

^ Enter Jessica and Launcelot. 

Jes. I am sorry thou wilt leave my father so : 
Our house is hell, and thou, a merry devil, 
Didst rob it of some taste of tediousness. 
But fare thee well, there is a ducat for thee : 
5 And, Launcelot, soon at supper shalt thou see 
Lorenzo, who is thy new master's guest : 



26 THE MERCHANT OF VENICE 

Give him this letter ; do it secretly 5 

And so farewell : I would not have my father 

See me in talk with thee. 

10 Laun. Adieu! tears exhibit my tongue. Most beautiful 
pagan, most sweet Jew ! adieu : these foolish drops do some- 
thing drown my manly spirit : adieu. 

Jes. Farewell, good Launcelot. [_Exit Launcelot.] 

Alack, what heinous sin is it in me ^ 

15 To be ashamed to be my father's child ! 
But though I am a daughter to his blood, 
I am not to his manners. Lorenzo, 
If thou keep promise, I shall end this strife. 
Become a Christian and thy loving wife. \_Exit. 

Scene IY. The same. A street 
Enter Gkatiano, Lorenzo, Salarino, and Salanio. 

Lor. Nay, we will slink away in supper-time, 
Disguise us at my lodging and return. 
All in an hour. 

Ora. We have not made good preparation. 
5 Salar. We have not spoke us yet of torch-bearers. 

Salan. 'Tis vile, unless it may be quaintly order'd, 
And better in my mind not undertook. 

Lor. 'Tis now but four o'clock : we have two hours 
To furnish us. 

Enter Launcelot, with a letter. 

Friend Launcelot, what's the news ? 
10 Laun. An it shall please you to break up this, it shall 
seem to signify. 

Lor. I know the hand : in faith, 'tis a fair hand ; 
And whiter than the paper it writ on 
Is the fair hand that writ. 



ACT II. SCENE V 27 

Gra. Love-news, in faith. 

15 Laun. By your leave, sir. 

Lo7\ Whither goest thou ? 

Laun. Marry, sir, to bid my old master the Jew to sup 
to-night with my new master the Christian. 

Lor. Hold here, take this : tell gentle Jessica 
20 I will not fail her 5 speak it privately. \_Exit Launcelot. 
Go, gentlemen, 

Will you prepare you for this masque to-night ? 
I am provided of a torch-bearer. 

Solar. Ay, marry, I'll be gone about it straight. 

Solan. And so will I. 
25 Lor. Meet me and Gratiano 

At Gratiano's lodging some hour hence. 

Solar. 'Tis good we do so. \_Exeunt Salar. and Salaist. 

Ora. Was not that letter from fair Jessica ? 

Lor. I must needs tell thee all. She hath directed 
30 How I shall take her from her father's house. 
What gold and jewels she is furnish' d with, 
What page's suit she hath in readiness. 
If e'er the Jew her father come to heaven. 
It will be for his gentle daughter's sake : 
35 And never dare misfortune cross her foot, 
Unless she do it under this excuse. 
That she is issue to a faithless Jew. 
Come, go with me ; peruse this as thou goest : 
Fair Jessica shall be my torch-bearer. \_Exeunt. 

Scene V. Tlie same. Before Shylock's liouse 

Enter Shylock and Launcelot. 

Shy. Well, thou shalt see, thy eyes shall be thy judge. 
The difference of old Shylock and Bassanio : — 
What, Jessica ! — thou shalt not gormandise, 



'\ 



28 THE MERCHANT OE VENICE 

As thou hast done with me : — What, Jessica ! — 
5 And sleep and snore, and rend apparel out ; — 
Why, Jessica, I say ! 

Laun. Why, Jessica ! 

Shy. Who bids thee call ? I do not bid thee call. 

Laun. Your worship was wont to tell me that I could do 
nothing without bidding. 

Enter Jessica. 

10 Jes. Call you ? what is your will ? 

Shy. I am bid forth to supper, Jessica : 
There are my keys. But wherefore should I go ? 
I am not bid for love ; they flatter me : 
But yet I'll go in hate, to feed upon 

15 The prodigal Christian. Jessica, my girl, 
Look to my house. I am right loath to go : 
There is some ill a-brewing towards my rest, 
For I did dream of money-bags to-night. 

Laun. I beseech you, sir, go: my young master doth 

20 expect your reproach. 
Shy. So do I his. 

Laun. And they have conspired together, I will not say 
you shall see a masque ; but if you do, then it was not for 
nothing that my nose fell a-bleeding on Black-Monday last 

25 at six o'clock i' the morning, falling out that year on Ash- 
Wednesday was four year, in the afternoon. 

Shy. What, are there masques ? Hear you me, Jessica : 
Lock up my doors ; and when you hear the drum 
And the vile squealing of the wry -neck' d fife, 

30 Clamber not you up to the casements then, 
Nor thrust your head into the public street 
To gaze on Christian fools with varnish'd faces, 
But stop my house's ears, I mean my casements : 
Let not the sound of shallow foppery enter 



ACT II. SCENE VI 29 

35 My sober house. By Jacob's staff, I swear, 
I have no mind of feasting forth to-night : 
But I will go. Go you before me, sirrah ; 
Say I will come. 

Laun. I will go before, sir. Mistress, look out at win- 
40 dow, for all this ; 

There will come a Christian by, 
Will be worth a Jewess' eye. \_Exit. 

Shy. What says that fool of Hagar's offspring, ha ? 
Jes. His words were " Farewell mistress ; " nothing else. 
45 Shy. The patch is kind enough, but a huge feeder ; 
Snail-slow in profit, and he sleeps by day 
More than the wild-cat : drones hive not with me ; 
Therefore I part with him, and part with him 
To one that I would have him help to waste 
50 His borrow'd purse. Well, Jessica, go in : 
Perhaps I will return immediately : 
Do as I bid you ; shut doors after you : 
Fast bind, fast find ; 

A proverb never stale in thrifty mind. [Exit. 

55 Jes. Farewell ; and if my fortune be not crost, 

I have a father, you a daughter, lost. \^Exit. 

Scene VI. Tlie same 
Enter Gratiano and Salarino, masqued. 

Gra. This is the pent-house under which Lorenzo 
Desired us to make stand. 

Salar. His hour is almost past. 

Gra. And it is maivel he out-dwells his hour. 
For lovers ever run before the clock. 
5 Salar. 0, ten times faster Venus' pigeons fly 
To seal love's bonds new-made, than they are wont 
To keep obliged faith unforfeited ! 



30 THE MERCHANT OF VENICE 

Gra. That ever holds : who riseth from a feast 

With that keen appetite that he sits down ? 
10 Where is the horse that doth untread again 

His tedious measures with the unbated fire 

That he did pace them first ? All things that are, 

Are with more spirit chased than enjoy'd. 

How like a younker or a prodigal 
15 The scarfed bark puts from her native bay, 

Hugg'd and embraced by the strumpet wind ! 

How like the prodigal doth she return, 

With over-weather'd ribs and ragged sails. 

Lean, rent and beggar'd by the strumpet wind ! 
20 Solar. Here comes Lorenzo : more of this hereafter. 

Enter Lorenzo. 

Lor. Sweet friends, your patience for my long abode ; 
Not I, but my affairs, have made you wait : 
When you shall please to play the thieves for wives, 
I'll watch as long for you then. Approach ; 
25 Here dwells my father Jew. Ho ! who's within ? 

Enter Jessica, above, in boy^s clothes. 

Jes. Who are you ? Tell me, for more certainty, 
Albeit I'll swear that I do know your tongue. 

Lor. Lorenzo, and thy love. 

Jes. Lorenzo, certain, and my love indeed, 
30 For who love I so much ? And now who knows 
But you, Lorenzo, whether I am yours ! 

Lor. Heaven and thy thoughts are witness that thou art. 

Jes. Here, catch this casket ; it is worth the pains. 
I am glad 'tis night, you do not look on me, 
35 For I am much ashamed of my exchange : 
But love is blind, and lovers cannot see 
The pretty follies that themselves commit ; 



ACT 11. SCENE VI 31 

For if they could, Cupid himself would blush 
To see me thus transformed to a boy. 
40 Lor. Descend, for you must be my torch-bearer. 
Jes. What, must I hold a candle to my shames ? 
They in themselves, good sooth, are too too light. 
Why, 'tis an ofiice of discovery, love ; 
And I should be obscured. 

Lor. So are you, sweet, 

45 Even in the lovely garnish of a boy. 
But come at once ; 

Spr the close night doth play the runaway. 
And we are stayed for at Bassanio's feast. 

Jes. I will make fast the doors, and gild myself 
50 With some more ducats, and be with you straight. 

[^Exit above. 
' Gra. Now, by my hood, a Gentile and no Jew. 
Lor. Beshrew me but I love her heartily ; 
For she is wise, if I can judge of her. 
And fair she is, if that mine eyes be true, 
55 And true she is, as she hath proved herself, 
And therefore, like herself, wise, fair, and true, 
Shall she be placed in my constant soul. 

Enter Jessica, beloiv. 

What, art thou come ? On, gentlemen ; away ! 
Our masquing mates by this time for us stay. 

[^Exit with Jessica ayid Salarino. 

Enter Antonio. 

60 Ant. Who's there ? 
Gra. Siguier Antonio ! 

Ant. Fie, fie, G-ratiano ! where are all the rest ? 
'Tis nine o'clock : our friends all stay for you. 
No masque to-night : the wind is come about ; 



32 THE MERCHANT OF VENICE 

65 Bassanio presently will go aboard : 
I have sent twenty out to seek for you. 

Gra. I am glad on't : I desire no more delight 
Than to be under sail and gone to-night. \_Exeiint, 

Scene VII. Belmont. A room in Portia's liouse 

Flourish of cornets. Enter Portia, imth the Prince of 
Morocco, and their trains. 

For. Go draw aside the curtains and discover 

The several caskets to this noble prince. 

Now make your choice. 

Mor. The first, of gold, who this inscription bears, 
5 " Who chooseth me shall gain what many men desire ; " 

The second, silver, which this promise carries, 

" Who chooseth me shall get as much as he deserves ; " 

This third, dull lead, with warning all as blunt, 

"Who chooseth me must give and hazard all he hath." 
10 How shall I know if I do choose the right ? 

For. The one of them contains my picture, prince : 

If you choose that, then I am years withal. 

Mor. Some god direct my judgement ! Let me see ; 

I will survey the inscriptions back again. 
15 What says this leaden casket ? 

" Who chooseth me must give and hazard all he hath." 

Must give : for what ? for lead ? hazard for lead ? 

This casket threatens. Men that hazard all 

Do it in hope of fair advantages : 
20 A golden mind stoops not to shows of dross ; 

I'll then nor give nor hazard aught for lead. 

What says the silver with her virgin hue ? 

"Who chooseth me shall get as much as he deserves." 

As much as he deserves ! Pause there, Morocco, 
25 And weigh thy value with an even hand : 



ACT II. SCENE VII 33 

If thou be'st rated by thy estimation, 

Thou dost deserve enough ; and yet enough 

May not extend so far as to the lady : 

And yet to be afeard of my deserving 
30 Were but a weak disabling of myself. 

As much as I deserve ! Why, that's the lady: 

I do in birth deserve her, and in fortunes. 

In graces and in qualities of breeding ; 

But more than these, in love I do deserve. 
35 What if I stray'd no further, but chose here ? 

I4?t's see once more this saying graved in gold ; 

^' Who chooseth me shall gain what many men desire." 

Why, that's the lady ; all the world desires her ; 

From the four corners of the earth they come, 
40 To kiss this shrine, this mortal-breathing saint : 

The Hyrcanian deserts and the vasty wilds 

Of wide Arabia are as throughfares now 

For princes to come view fair Portia : 

The watery kingdom, whose ambitious head 
45 Spits in the face of heaven, is no bar 

To stop the foreign spirits, but they come, 

As o'er a brook, to see fair Portia. 

One of these three contains her heavenly picture. 

Is't like that lead contains her ? 'Twere damnation 
50 To think so base a thought : it were too gross 

To rib her cerecloth in the obscure grave. 

Or shall I think in silver she's immured. 

Being ten times undervalued to tried gold ? 

sinful thought ! Never so rich a gem 
55 Was set in worse than gold. They have in England 

A coin that bears the figure of an angel 

Stamped in gold, but that's insculp'd upon ; 

But here an angel in a golden bed 

Lies all within. Deliver me the key : 
60 Here do I choose, and thrive I as I may ! 



34 THE MERCHANT OF VENICE 

Por. There, take it, prince ; and if my form lie there, 
Then I am yours. \_He unlocks the golden casket. 

Mor. hell ! what have we here ? 

A carrion Death, within whose empty eye 
There is a written scroll ! I'll read the writing. 
65 [^Beads'] All that glisters is not gold ; 

Often have you heard that told : 
Many a man his life hath sold 
But my outside to behold : 
Gilded tombs do worms infold. 
70 Had you been as wise as bold. 

Young in limbs, in judgement old. 
Your answer had not been inscrolPd : 
Fare you well ; your suit is cold. 
Cold, indeed ; and labor lost : 
75 Then, farewell, heat, and welcome, frost ! 
Portia, adieu. I have too grieved a heart 
To take a tedious leave : thus losers part. 

\_Exit with his train. Flourish of cornets. 
Por. A gentle riddance. Draw the curtains, go. 
Let all of his complexion choose me so. [Exeunt. 

Scene VIII. Ve7iice. A street 
Enter Salarino and Salanio. 

Solar. Why, man, I saw Bassanio under sail : 
With him is G-ratiano gone along ; 
And in their ship I am sure Lorenzo is not. 

Salan. The villain Jew with outcries raised the duke, 
5 Who went with him to search Bassanio's ship. 

Salar. He came too late, the ship was under sail : 
But there the duke was given to understand 
That in a gondola were seen together 
Lorenzo and his amorous Jessica : 




-a 

a 



-a 

SB 

>5 



ACT II. SCENE VIII 35 

10 Besides, Antonio certified the duke 

They were not with Bassanio in his ship. 
Solan. I never heard a passion so confused, 

So strange, outrageous, and so variable, 

As the dog Jew did utter in the streets : 
15 " My daughter ! my ducats ! my daughter ! 

Fled with a Christian ! my Christian ducats ! 

Justice ! the law ! my ducats, and my daughter ! 

A sealed bag, two sealed bags of ducats. 

Of double ducats, stolen from me by my daughter ! 
20 And jewels, two stones, two rich and precious stones. 

Stolen by my daughter ! Justice ! find the girl ! 

She hath the stones upon her, and the ducats." 
Solar. Why, all the boys in Venice follow him. 

Crying, his stones, his daughter, and his ducats. 
25 Solon. Let good Antonio look he keep his day. 

Or he shall pay for this. 

Solar. Marry, well remember'd. 

I reason'd with a Frenchman yesterday. 

Who told me, in the narrow seas that part 

The French and English, there miscarried 
30 A vessel of our country richly fraught : 

I thought upon Antonio when he told me. 

And wish'd in silence that it were not his. 

Solan. You were best to tell Antonio what you hear ; 

Yet do not suddenly, for it may grieve him. 
35 Solar. A kinder gentleman treads not the earth. 

I saw Bassanio and Antonio part : 

Bassanio told him he would m.ake some speed 

Of his return : he answer'd, " Do not so ; 

Slubber not business for my sake, Bassanio, 
40 But stay the very riping of the time ; 

And for the Jew's bond which he hath of me. 

Let it not enter in your mind of love : 

Be merry, and employ your chiefest thoughts 



36 THE MERCHANT OF VENICE 

To courtship and such fair ostents of love 
45 As shall conveniently become you there : " 

And even there, his eye being big with tears, 

Turning his face, he put his hangl behind him, 

And with affection wondrous sensible 

He wrung Bassanio's hand ; and so they parted. 
50 Solan. I think he only loves the world for him. 

I pray thee, let us go and find him out 

And quicken his embraced heaviness 

With some delight or other. 

Solar. Do we so. \_Exeunt. 

Scene IX. Belmont. A room in Portia's house 

Enter JSTerissa imtli a Servitor. 

Ner. Quick, quick, I pray thee ; draw the curtain straight : 
The Prince of Arragon hath ta'en his oath. 
And comes to his election presently. 

Flourish of Cornets. Enter the Prixce of Akkagox, Portia, 

and their trains. 

For. Behold, there stand the caskets, noble prince : 
5 If you choose that wherein I am contain'd, 
Straight shall our nuptial rites be solemnized : 
But if you fail, without more speech, my lord, 
You must be gone from hence immediately. 

Ar. I am enjoin'd by oath to observe three things: 
10 Pirst, never to unfold to any one 

Which casket 'twas I chose ; next, if I fail 
Of the right casket, never in my life 
To woo a maid in way of marriage : 
Lastly, 
15 If I do fail in fortune of my choice. 
Immediately to leave you and be gone. 



ACT 11. SCENE IX 37 

Por. To these injunctions every one dotli swear 

That comes to hazard for my worthless self. 

Ar. And so have I address'd me. Fortune now 
20 To my heart's hope ! Gold ; silver ; and base lead. 

^^ Who chooseth me must give and hazard all he hath.'^ 

You shall look fairer, ere I give or hazard. 

What says the golden chest ? ha ! let me see : 

'^ Who chooseth me shall gain what many men desire." 
25 What many men desire ! that " many " may be meant 

By the fool multitude, that choose by show, 

J^t learning more than the fond eye doth teach ; 

Which pries not to the interior, but, like the martlet, 

Builds in the weather on the outward wall, 
30 Even in the force and road of casualty. 

I will not choose what many men desire, 

Because I will not jump with common spirits 

And rank me with the barbarous multitudes. 

Why, then to thee, thou silver treasure-house ; 
35 Tell me once more what title thou dost bear : 

" Who chooseth me shall get as much as he deserves : " 

And well said too \ for who shall go about 

To cozen fortune and be honourable 

Without the stamp of merit ? Let none presume 
40 To wear an undeserved dignity. 

0, that estates, degrees and offices 

Were not derived corruptly, and that clear honour 

Were purchased by the merit of the wearer ! 

How many then should cover that stand bare ! 
45 How many be commanded that command ! 

How much low peasantry would then be glean'd 

From the true seed of- honour ! and how much honour 

Pick'd from the chaff and ruin of the times 

To be new-varnish'd ! Well, but to my choice : 
50 " Who chooseth me shall get as much as he deserves." 

I will assume desert. Give me a key for this, 



38 THE MERCHANT OF VENICE 

And instantly unlock my fortunes here. 

\_He opens the silver casket. 
Pot. Too long a pause for that which you find there. 
Ar. What's here ? the portrait of a blinking idiot, 
55 Presenting me a schedule ! I will read it. 
How much unlike art thou to Portia ! 
How much unlike my hopes and my deservings ! 
" Who chooseth me shall have as much as he deserves.^' 
Did I deserve no more than a fool's head ? 
60 Is that my prize ? are my deserts no better ? 
Por. To offend, and judge, are distinct offices 
And of opposed natures. 

A7\ What is here ? 

\_Reads'\ The fire seven times tried this : 

Seven times tried that judgement is, 
65 That did never choose amiss. 

Some there be that shadows kiss ; 
Sach have but a shadow's bliss : 
There be fools alive, I wis, 
Silver'd o'er ; and so was this. 
70 Take what wife you will to bed, 

I will ever be your head : 
So be gone : you are sped. 
Still more fool I shall appear 
By the time I linger here : 
75 With one fool's head I came to woo. 
But I go away with two. 
Sweet, adieu. I'll keep my oath, 

Patiently to bear my wroth. [Exeunt Arragon and train. 

Por. Thus hath the candle singed the moth. 
80 0, these deliberate fools ! when they do choose. 
They have the wisdom by their wit to lose. 

Ner. The ancient saying is no heresy, 
Hanging and wiving goes by destiny. 
Por. Come, draw the curtain, Nerissa. 



ACT II. SCENE IX 39 



Enter a Servant. 



85 jServ. Where is my lady ? 

For. Here : what would my lord ? 

JServ. Madam, there is alighted at your gate 
A young Venetian, one that comes before 
To signify the approaching of his lord ; 
From whom he bringeth sensible regreets, 
90 To wit, besides commends and courteous breath, 
Gifts of rich value. Yet I have not seen 
So likely an ambassador of love : 
A day in April never came so sweet. 
To show how costly summer was at hand, 
95 As this fore-spurrer comes before his lord. 

Por. No more, I pray thee : I am half afeard 
Thou wilt say anon he is some kin to thee, 
Thou spend'st such high-day wit in praising him. 
Come, come, Nerissa ; for I long to see 
100 Quick Cupid's post that comes so mannerly. 

JSfer. Bassanio, lord Love, if thy will it be ! \^Exeunt. 



40 THE MERCHANT OF VENICE 



ACT III 

ScEisTE I. Venice. A street 
Enter Salanio and Salarino. 

Solan. Now, what news on the Rialto ? 

Solar. Why, yet it lives there unchecked that Antonio 
hath a ship of rich lading wrecked on the narrow seas ; the 
Goodwins, I think they call the place; a very dangerous 
5 flat and fatal, where the carcases of many a tall ship lie 
buried, as they say, if my gossip Report be an honest 
woman of her word. 

Salan. I would she Avere as lying a gossip in that as ever 
knapped ginger or made her neighbours believe she wept for 
10 the death of a third husband. But it is true, without any 
slips of prolixity or crossing the plain highway of talk, that 
the good Antonio, the honest Antonio, — that I had a 
title good enough to keep his name company ! — 

Salar. Come, the full stop. 
15 Salan. Ha ! what sayest thou ? Why, the end is, he 
hath lost a ship. 

Salar. I would it might prove the end of his losses. 

Salan. Let me say '^ amen " betimes, lest the devil cross 
my prayer, for here he comes in the likeness of a Jew. 

Enter Shylock. 

20 How now, Shylock ! what news among the merchants ? 

Shy. You knew, none so well, none so well as you, of my 
daughter's flight. 

Salar. That's certain : I, for my part, knew the tailor 
that made the wings she flew withal. 
25 Salan. And Shylock, for his own part, knew the bird was 



ACT III. SCENE 1 41 

fledged; and then it is the complexion of them all to leave 
the dam. 

Shy. She is damned for it. 

Solar. That's certain, if the devil may be her judge. 

30 Shy. My own flesh and blood to rebel ! 

Solan. Out upon it, old carrion ! rebels it at these years ? 
Shy. I say, my daughter is my flesh and blood. 
Solar. There is more difference between thy flesh and 
hers than between jet and ivory ; more between your bloods 

35 than there is between red wine and Ehenish. But tell us, 

do you hear whether Antonio have had any loss at sea or no ? 

Shy. There I have another bad match : a bankrupt, a 

prodigal, who dare scarce show his head on the Rialto ; a 

beggar, that was used to come so smug upon the mart ; let 

40 him look to his bond : he was wont to call me usurer ; let 
him look to his bond: he was wont to lend money for a 
Christian courtesy ; let him look to his bond. 

Solar. Why, I am sure, if he forfeit, thou wilt not take 
his flesh : what's that good for ? 

45 Shy. To bait fish withal : if it will feed nothing else, it 
will feed my revenge. He hath disgraced me, and hindered 
me half a million ; laughed at my losses, mocked at my 
gains, scorned my nation, thwarted my bargains, cooled my 
friends, heated mine enemies ; and what's his reason ? I 

50 am a Jew. Hath not a Jew eyes ? hath not a Jew hands, 
organs, dimensions, senses, affections, passions ? fed with 
the same food, hurt with the same weapons, subject to the 
same diseases, healed by the same means, warmed and 
cooled by the same winter and summer, as a Christian is ? 

55 If you prick us, do we not bleed ? if you tickle us, do we 
not laugh ? if you poison us, do we not die ? and if you 
wrong us, shall we not revenge ? If we are like you in 
the rest, we will resemble you in that. If a Jew wrong a 
Christian, what is his humility ? Eevenge. If a Christian 

60 wrong a Jew, what should his sufferance be by Christian 



42 THE MERCHANT OF VENICE 

example ? Why, revenge. The villany you teach me, I 
will execute, and it shall go hard but I will better the 
instruction. 

E^iter a Servant. 

Serv. Gentlemen, my master Antonio is at his house, and 
65 desires to speak with you both. 

Solar. We have been up and down to seek him. 

Enter Tubal. 

Sedan. Here comes another of the tribe : a third cannot 
be matched, unless the devil himself turn Jew. 

\_Exeunt Salan., Salae,., and Servant. 
Shy. How now. Tubal ! what news from Genoa ? hast 
70 thou found my daughter ? 

Tub. I often came where I did hear of her, but cannot 
find her. 

Shy. Why, there, there, there, there ! a diamond gone, 

cost me two thousand ducats in Frankfort ! The curse 

75 never fell upon our nation till now ; I never felt it till 

now : two thousand ducats in that ; and other precious, 

precious jewels. I would my daughter were dead at my 

foot, and the jewels in her ear ! would she were hearsed at 

my foot, and the ducats in her coffin ! No news of them ? 

80 Why, so : and I know not what's spent in the search : why, 

then, loss upon loss ! the thief gone with so much, and so 

much to find the thief ; and no satisfaction, no revenge : nor 

no ill luck stirring but what lights on my shoulders; no 

sighs but of my breathing ; no tears but of my shedding. 

85 Tub. Yes, other men have ill luck too: Antonio, as I 

heard in Genoa, — 

Shy. What, what, what ? ill luck, ill luck ? 
Tub. Hath an argosy cast away, coming from Tripolis. 
Shy. I thank God, I thank God. Is't true, is't true ? 
90 Tub. I spoke with some of the sailors that escaped the 
wreck. 



ACT III. SCENE II 43 

Shy. I thank thee, good Tubal : good news, good news ! 
ha, ha ! where ? in Genoa ? 

Tub. Your daughter spent in Genoa, as I heard, in one 
95 night fourscore ducats. 

Shy. Thou stickest a dagger in me: I shall never see my 
gold again : fourscore ducats at a sitting ! fourscore ducats ! 

Tub. There came divers of Antonio's creditors in my 
company to Venice, that swear he cannot choose but break. 
100 Shy. I am very glad of it : I'll plague him ; I'll torture 
hijaa : I am glad of it. 

Tub. One of them showed me a ring that he had of your 
daughter for a monkey. 

Shy. Out upon her ! Thou torturest me, Tubal : it was 
105 my turquoise ; I had it of Leah when I was a bachelor : I 
would not have given it for a wilderness of monkeys. 

Tub. But Antonio is certainly undone. 

Shy. ISTay, that's true, that's very true. Go, Tubal, fee 
me an officer ; bespeak him a fortnight before. I will have 
110 the heart of him, if he forfeit ; for, were he out of Venice, I 
can make what merchandise I will. Go, go, Tubal, and 
meet me at our synagogue ; go, good Tubal ; at our synagogue. 
Tubal. \_Exeunt. 

Scene II. Belmont. A I'oom in Portia's house 

Enter Bassanio, Poktia, Gratiano, Nerissa, and 

Attendants. 

Por. I pray you, tarry : pause a day or two 
Before you hazard ; for, in choosing wrong, 
I lose your company : therefore forbear awhile. 
There's something tells me, but it is not love, 
5 I would not lose you ; and you know yourself, 
Hate counsels not in such a quality. 
But lest you should not understand me well, — 



44 THE MERCHANT OF VENICE 

And yet a maiden hath no tongue but thought, — 

I would detain you here some month or two 
10 Before you venture for me. I could teach you 

How to choose right, but I am then forsworn ; 

So will I never be : so may you miss me ; 

But if you do, you'll make me wish a sin. 

That I had been forsworn. Beshrew your eyes, 
15 They have o'erlook'd me and divided me ; 

One half of me is yours, the other half yours. 

Mine own, I would say ; but if mine, then yours, 

And so all yours. 0, these naughty times 

Put bars between the owners and their rights ! 
20 And so, though yours, not yours. Prove it so. 

Let fortune go to hell for it, not I. 

I speak too long ; but 'tis to peize the time, 

To eke it and to draw it out in length. 

To stay you from election. 

Bass. Let me choose ; 

25 For as I am, I live upon the rack. 

Por. Upon the rack, Bassanio ! then confess 

What treason there is mingled with your love. 
Bass. None but that ugly treason of mistrust^ 

Which makes me fear the enjoying of my love : 
30 There may as well be amity and life 

'Tween snow and fire, as treason and my love. 
Por. Ay, but I fear you speak upon the rack. 

Where men enforced do speak anything. 

Bass. Promise me life, and I'll confess the truth. 
35 Por. Well then, confess and live. 

Bass. " Confess " and " love " 

Had been the very sum of my confession : 

happy torment, when my torturer 

Doth teach me answers for deliverance ! 

But let me to my fortune and the caskets. 
40 Por. Away, then! I am lock'd in one of them: 



ACT III. SCENE 11 45 

If you do love me, you will find me out. 

Nerissa and the rest, stand all aloof. 

Let music sound while he doth make his choice; 

Then, if he lose, he makes a swan-like end, 
45 Fading in music : that the comparison 

May stand more proper, my eye shall be the stream 

And water}'- deatji-bed for him. He may win ; 

And what is music then ? Then music is 

Even as the flourish when true subjects bow 
50 To a new-crowned monarch : such it is 

As are those dulcet sounds in break of day 

That creep into the dreaming bridegroom's ear 

And summon him to marriage. Now he goes, 

With no less presence, but with much more love, 
55 Than young Alcides, when he did redeem 

The virgin tribute paid by howling Troy 

To the sea-monster : I stand for sacrifice ; 

The rest aloof are the Dardanian wives. 

With bleared visages, come forth to view 
60 The issue of the exploit. Go, Hercules ! 

Live thou, I live : with much much more dismay 

I view the fight than thou that makest the fray. 

Music, whilst Bassanio comments on the caskets to himself. 

Song. 

Tell me where is fancy bred, 
Or in the heart or in the head ? 
65 How begot, how nourished ? 

Eeply, reply. 
It is engendered in the eyes. 
With gazing fed ; and fancy dies 
In the cradle where it lies. 
70 Let us all ring fancy's knell : 

I'll begin it, — Ding, dong, bell. 



46 THE MERCHANT OF VENICE 

All Ding, dong, bell. 

Bass. So may the outward shows be least themselves 
The world is still deceived with ornament. 

73 In law, what plea so tainted and corrupt 
But, being season'd with a gracious voice. 
Obscures the show of evil ? In religion, 
What damned error, but some sober brow 
Will bless it and approve it with a text, 

80 Hiding the grossness with fair ornament ? 
There is no vice so simple but assumes 
Some mark of virtue on his outward parts : 
How many cowards, whose hearts are all as false 
As stairs of sand, wear yet upon their chins 

85 The beards of Hercules and frowning Mars, 
Who, inward search'd, have livers white as milk ; 
And these assume but valour's excrement 
To render them redoubted ! Look on beauty. 
And you shall see 'tis purchased by the weight ; 

90 Which therein works a miracle in nature. 
Making them lightest that wear most of it : 
So are those crisped snaky golden locks 
Which make such wanton gambols with the wind, 
Upon supposed fairness, often known 

95 To be the dowry of a second head, 

The skull that bred them in the sepulchre. 
Thus ornament is but the guiled shore 
To a most dangerous sea ; the beauteous scarf 
Veiling an Indian beauty ; in a word, 

100 The seeming truth which cunning times put on 
To entrap the wisest. Therefore, thou gaudy gold. 
Hard food for Midas, I will none of thee ; 
Nor none of thee, thou pale and common drudge 
'Tween man and man : but thou, thou meagre lead, 

105 Which rather threatenest than dost promise aught. 
Thy paleness moves me more than eloquence j 



ACT III. SCENE II 47 

And here choose I : joy be the consequence ! 

Por. \_Aside] How all the other passions fleet to air, 
As doubtful thoughts, and rash-embraced despair, 
110 And shuddering fear, and green-eyed jealousy ! 

love. 

Be moderate ; allay thy ecstasy ; 

In measure rein thy joy ; scant this excess. 

1 feel too much thy blessing: make it less. 
For fear I surfeit. 

115 Bass. What find I here ? 

[Opening the leaden casket. ~\ 
Fair Portia's counterfeit ! What demi-god 
Hath come so near creation ? Move these eyes ? 
Or whether, riding on the balls of mine, 
Seem they in motion ? Here are sever'd lips, 
120 Parted with sugar breath : so sweet a bar 

Should sunder such sweet friends. Here in her hairs 
The painter plays the spider and hath woven 
A golden mesh to entrap the hearts of men 
Faster than gnats in cobwebs : but her eyes, — 
125 How could he see to do them ? having made one, 
Methinks it should have power to steal both his. 
And leave itself unfurnish'd. Yet look, how far 
The substance of my praise doth wrong this shadow 
In underprizing it, so far this shadow 
130 Doth limp behind the substance. Here's the scroll. 
The continent and summary of my fortune. 
[Reads'] You that choose not by the view. 
Chance as fair and choose as true ! 
Since this fortune falls to you, 
135 Be content and seek no new. 

If you be well pleased with this, 
And hold your fortune for your bliss, 
Turn you where your lady is. 
And claim her with a loving kiss. 



48 THE MERCHANT OF VENICE 

140 A gentle scroll. Fair lady, by your leave ; 
I come by note, to give and to receive. 
Like one of two contending in a prize. 
That thinks he hath done well in people's eyes, 
Hearing applause and universal shout, 

145 Giddy in spirit, still gazing in a doubt 
Whether those peals of praise be his or no : 
So, thrice-fair lady, stand I, even so ; 
As doubtful whether what I see be true. 
Until confirm'd, sign'd, ratified by you. 

150 Por. You see me. Lord Bassanio, where I stand, 
Such as I am : though for myself alone " 
I would not be ambitious in my wish, 
To wish myself much better ; yet, for you 
I would be trebled twenty times myself ; 

155 A thousand times more fair, ten thousand times 
More rich ; 

That only to stand high in your account, 
I might in virtues, beauties, livings, friends. 
Exceed account ; but the full sum of me 

160 Is sum of something, which, to term in gross, 
Is an unlesson'd girl, unschool'd, unpractised, 
Happy in this, she is not yet so old 
But she may learn ; happier then in this. 
She is not bred so dull but she can learn ; 

165 Happiest of all in that her gentle spirit 
Commits itself to yours to be directed. 
As from her lord, her governor, her king. 
Myself and what is mine to you and yours 
Is now converted : but now I was the lord 

170 Of this fair mansion, master of my servants. 
Queen o'er myself ; and even now, but now. 
This house, these servants and this same myself 
Are yours, my lord : I give them with this ring ; 
Which when you part from, lose, or give away, 



ACT III. SCENE II 49 

175 Let it presage the ruin of your love 

And be my vantage to exclaim on you. 

Bass. Madam, you have bereft me of all words, 

Only my blood speaks to you in my veins ; 

And there is such confusion in my powers, 
180 As, after some oration fairly spoke 

By a beloved prince, there doth appear 

Among the buzzing pleased multitude ; 

Where every something, being blent together. 

Turns to a wild of nothing, save of joy, 
185 Express'd and not express'd. But when this ring 

Parts from this finger, then parts life from hence : 

O, then be bold to say Bassanio's dead ! 
Ner. My lord and lady, it is now our time, 

That have stood by and seen our wishes prosper, 
190 To cry, good joy : good joy, my lord and lady! 
Gra. My lord Bassanio and my gentle lady, 

I wish you all the joy that you can wish ; 

For I am sure you can wish none from me : 

And when your honours mean to solemnize 
195 The bargain of your faith, I do beseech you, 

Even at that time I may be married too. 

Bass. With all my heart, so thou canst get a wife. 
Gra. I thank your lordship, you have got me one. 

My eyes, my lord, can look as swift as yours : 
200 You saw the mistress, I beheld the maid ;■ 

You loved, I loved : for intermission 

No more pertains to me, my lord, than you. 

Your fortune stood upon the casket there, 

And so did mine too, as the matter falls ; 
205 For wooing here until I sweat again. 

And swearing till my very roof was dry 

With oaths of love, at last, if promise last, 

I got a promise of this fair one here 



50 THE MERCHANT OF VENICE 

To have her love^ provided that your fortune 
Achieved her mistress. 
210 Por. Is this true, Nerissa ? 

Ner. Madam, it is, so you stand pleased withal. 
Bass. And do you, Grratiano, mean good faith ? 
Gra. Yes, faith, my lord. 

Bass. Our feast shall be much honoured in your marriage. 
215 Gra. But who comes here ? Lorenzo and his infidel ? 
What, and my old Venetian friend Salanio ? 

Enter Lorenzo, Jessica, and Salanio. 

Bass. Lorenzo and Salanio, welcome hither : 
If that the youth of my new interest here 
Have power to bid you welcome. By your leave, 
220 I bid my very friends and countrymen. 
Sweet Portia, welcome. 

Por. So do I, my lord : 

They are entirely welcome. 

Lor. I thank your honour. For my part, my lord, 
My purpose was not to have seen you here ; 
225 But meeting with Salanio by the way, 
He did intreat me, past all saying nay, 
To come with him along. 

Solan. I did, my lord : 

And I have reason for it. Signior Antonio 
Commends him to you. \_Gives Bassanio a letter. 

Bass. Ere I ope his letter, 

230 I pray you, tell me how my good friend doth. 

Salan. Not sick, my lord, unless it be in mind ; 
Nor well, unless in mind : his letter there 
Will show you his estate. 

Gra. Nerissa, cheer yon stranger ; bid her welcome. 
235 Your hand, Salanio : what's the news from Venice? 
How doth that royal merchant, good Antonio ? 



ACT III. SCENE II 51 

I know he will be glad of our success ; 

We are the Jasons, we have won the fleece. 

Salan. I would you had won the fleece that he hath lost. 
240 Pot. There are some shrewd contents in yon same paper, 

That steals the colour from Bassanio's cheek : 

Some dear friend dead ; else nothing in the world 

Could turn so much the constitution 

Of any constant man. What, worse and worse ! 
245 With leave, Bassanio ; I am half yourself, 

Aftd I must freely have the half of anything 

That this same paper brings you. 

Bass. sweet Portia, 

Here are a few of the unpleasant'st words 

That ever blotted paper ! Gentle lady, 
250 When I did first impart my love to you, 

I freely told you, all the wealth I had 

Ran in my veins, I was a gentleman ; 

And then I told you true : and yet, dear lady. 

Eating myself at nothing, you shall see 
255 How much I was a braggart. When I told you 

My state was nothing, I should then have told you 

That I was worse than nothing ; for, indeed, 

I have engaged myself to a dear friend. 

Engaged my friend to his mere enemy, 
260 To feed my means. Here is a letter, lady ; 

The paper as the body of my friend. 

And every word in it a gaping wound. 

Issuing life-blood. But is it true, Salanio ? 

Have all his ventures fail'd ? What, not one hit ? 
265 From Tripolis, from Mexico, and England, 

From Lisbon, Barbary, and India ? 

And not one vessel 'scape the dreadful touch 

Of merchant-marring rocks ? 

Salan. Xot one, my lord. 

Besides, it should appear, that if he had 



52 THE MEKCHANT OF VENICE 

270 The present money to discharge the Jew, 

He would not take it. Never did I know 

A creature, that did bear the shape of man. 

So keen and greedy to confound a man : 

He plies the duke at morning and at night, 
275 And doth impeach the freedom of the state. 

If they deny him justice : twenty merchants, 

The duke himself, and the magnificoes 

Of greatest port, have all persuaded with him ; 

But none can drive him from the envious plea 
280 Of forfeiture, of justice, and his bond. 

Jes. When I was with him I have heard him swear 

To Tubal and to Chus, his countrymen, 

That he would rather have Antonio's ilesh 

Than twenty times the value of the sum 
285 That he did owe him : and I know, my lord. 

If law, authority, and power deny not. 

It will go hard with poor Antonio. 

For. Is it your dear friend that is thus in trouble ? 
Bass. The dearest friend to me, the kindest man, 
290 The best-condition'd and unwearied spirit 

In doing courtesies, and one in whom 

The ancient Eoman honour more appears 

Than any that draws breath in Italy. 
Por. What sum owes he the Jew ? 
Bass. For me three thousand ducats. 
295 Por. What, no more ? 

Pay him six thousand, and deface the bond ; 

Double six thousand, and then treble that. 

Before a friend of this description 

Shall lose a hair through Bassanio's fault, 
aoo First go with me to church and call me wife. 

And then away to Venice to your friend ; 

For never shall you lie by Portia's side 

With an unquiet soul. You shall have gold 



ACT III. SCENE III 53 

To pay the petty debt twenty times over : 
305 When it is paid, bring your true friend along. 
My maid Nerissa and myself meantime 
Will live as maids and widows. Come, away ! 
Eor you shall hence upon your wedding-day : 
Bid your friends welcome, show a merry cheer : 
310 Since you are dear bought, I will love you dear. 
But let me hear the letter of your friend. 

•Bass. [Reads'] Sweet Bassanio, my ships have all mis- 
carried, my creditors grow cruel, my estate is very low, my 
bond to the Jew is forfeit; and since in paying it, it is 
315 impossible I should live, all debts are cleared between you 
and I, if I might but see you at my death. JSTotwithstand- 
ing, use your pleasure : if your love do not persuade you to 
come, let not my letter. 

Poi\ love, despatch all business, and be gone ! 
320 Bass. Since I have your good leave to go away, 
I will make haste : but, till I come again, 
No bed shall e'er be guilty of my stay. 

No rest be interposer 'twixt us twain. [JExeunt. 

Scene III. Venice. A street 
Enter Shylock, Salarino, Antonio, and Gaoler. 

Shy. Gaoler, look to him : tell not me of mercy ; 
This is the fool that lent out money gratis : 
Gaoler, look to him. 

Ant. Hear me yet, good Shylock. 

Shy. I'll have my bond ; speak not against my bond : 
5 I have sworn an oath that I will have my bond. 
Thou call'dst me dog before thou hadst a cause ; 
But, since I am a dog, beware my fangs : 
The duke shall grant me justice. I do wonder. 
Thou naughty gaoler, that thou art so fond 
10 To come abroad with him at his request. 



54 THE MERCHANT OE VENICE 

Ant. I pray tliee, hear me speak. 

jShy. I'll have my bond ; I will not hear thee speak : 
I'll have my bond ; and therefore speak no more. 
I'll not be made a soft and dull-eyed fool, 
15 To shake the head, relent, and sigh, and yield 
To Christian intercessors. Follow not ; 
I'll have no speaking : I will have my bond. [Exit 

Solar. It is the most impenetrable cur 
That ever kept with men. 

Ant. Let him alone : 

20 I'll follow him no more with bootless prayers. 
He seeks ]ny life ; his reason well I know : 
I oft deliver'd from his forfeitures 
Many that have at times made moan to me ; 
Therefore he hates me. 

Solar. I am sure the duke 

25 Will never grant this forfeiture to hold. 

Ant. The duke cannot deny the course of law: 
For the commodity that strangers have 
With us in Venice, if it be denied, 
Will much impeach the justice of his state ; 
30 Since that the trade and profit of the city 
Consisteth of all nations. Therefore, go : 
These griefs and losses have so bated me. 
That I shall hardly spare a pound of flesh 
To-morrow to my bloody creditor. 
35 Well, gaoler, on. Pray God, Bassanio come 

To see me pay his debt, and then I care not ! [Exeunt. 

Scene IV. Belmont. A room in Portia's house 

Enter Portia, Nerissa, Lorenzo, Jessica, and Balthasar. 

Lor. Madam, although I speak it in your presence, 
You have a noble and a true conceit 



ACT III. SCENE IV 55 

Of god-like amity ; which appears most strongly 

In bearing thus the absence of your lord. 
5 But if you knew to whom you show this honour, 

How true a gentleman you send relief, 

How dear a lover of my lord your husband, 

I know you would be prouder of the work 

Than customary bounty can enforce you. 
10 Por. I never did repent for doing good, 

Nor shall not now: for in companions 

That do converse and waste the time together, 

Whose souls do bear an equal yoke of love, 

There must be needs a like proportion 
15 Of lineaments, of manners, and of s^^irit ; 

Which makes me think that this Antonio, 

Being the bosom lover of my lord, 

Must needs be like my lord. If it be so. 

How little is the cost I have bestowed 
20 In purchasing the semblance of my soul 

From out the state of hellish misery ! 

This comes too near the praising of myself ; 

Therefore no more of it : hear other things. 

Lorenzo, I commit into your hands 
25 The husbandry and manage of my house 

Until my lord's return : for mine own part, 

I have toward heaven breathed a secret vow 

To live in prayer and contemplation, 

Only attended by Nerissa here, 
30 Until her husband and my lord's return : 

There is a monastery two miles off ; 

And there will we abide. I do desire you 

Not to deny this imposition ; 

The which my love and some necessity 

Now lays upon you. 
35 Lor. Madam, with all my heart ; 

I shall obey you in all fair commands. 



56 THE MERCHANT OF VENICE 

Por. My people do already know my mind, 
And will acknowledge you and Jessica 
In place of Lord Bassanio and myself. 
40 And so farewell, till we shall meet again. 

Lor. Fair thoughts and happy hours attend on you ! 
Jes. I wish your ladyship all heart's content. 
Por. I thank you for your wish, and am well pleased 
To wish it back on you : fare you well, Jessica. 

\_Exeunt Jessica and Lorenzo. 
45 Now, Balthasar, 

As I have ever found thee honest-true. 
So let me find thee still. Take this same letter, 
And use thou all the endeavour of a man 
In speed to Padua : see thou render this 
50 Into my cousin's hand, Doctor Bellario ; 

And, look, what notes and garments he doth give thee, 
Bring them, I pray thee, with imagined speed 
Unto the tranect, to the common ferry 
Which trades to Venice. Waste no time in words, 
55 But get thee gone : I shall be there before thee. 

Balth. Madam, I go with all convenient speed. \^Exlt. 

Por. Come on, Nerissa ; I have work in hand 
That you yet know not of : we'll see our husbands 
Before they think of us. 

Ner. Shall they see us ? 

60 Por. They shall, Nerissa ; but in such a habit, 
That they shall think we are accomplished 
With that we lack. I'll hold thee any wager. 
When we are both accoutred like young men, 
I'll prove the prettier fellow of the two, 
65 And wear my dagger with the braver grace, 
And speak between the change of man and boy 
With a reed voice, and turn two mincing steps 
Into a manly stride, and speak of frays 
Like a fine bragging youth, and tell quaint lies, 



ACT III. SCENE V 57 

70 How honourable ladies sought my love, 

Which I denying, they fell sick and died; 

I could not do withal ; then I'll repent, 

And wish, for all that, that I had not kilPd them ; 

And twenty of these puny lies I'll tell, 
75 That men shall swear I have discontinued school 

Above a twelvemonth. I have within my mind 

A "thousand raw tricks of these bragging Jacks, 

Which I will practise. 

But come, I'll tell thee all my whole device 
80 When I am in my coach, which stays for us 

At the park gate ; and therefore haste away, 

For we must measure twenty miles to-day. [^Exeunt. 

Scene V. The same. A garden 
Enter Launcelot and Jessica. 

Laun. Yes, truly; for, look you, the sins of the father 

are to be laid upon the children : therefore, I promise ye, 

I fear you. I was always plain with you, and so now I 

speak my agitation of the matter: therefore be of good 

5 cheer, for truly I think you are damned. 

Jes. I shall be saved by my husband; he hath made me 
a Christian. 

Laun. Truly, the more to blame he : we were Christians 

enow before ; e'en as many as could well live, one by another. 

10 This making of Christians will raise the price of hogs : if 

we grow all to be pork-eaters, we shall not shortly have 

a rasher on the coals for money. 

Enter Lorenzo. 

Jes. I'll tell my husband, Launcelot, what you say : here 
he comes. 
15 Lor. I shall grow jealous of you shortly, Launcelot, if 
you thus get my wife into corners. 



58 THE MERCHANT OF VENICE 

Jes. Nay, you need not fear us, Lorenzo : Launcelot and 

I are out. He tells me flatly, there is no mercy for me in 

heaven, because I am a Jew's daughter : and he says, you 

20 are no good member of the commonwealth, for in converting 

Jews to Christians, you raise the price of pork. 

Lor. I think the best grace of wit will shortly turn into 
silence, and discourse grow commendable in none only but 
parrots. Go in, sirrah ; bid them prepare for dinner. 
25 Laun. That is done, sir ; they have all stomachs. 

Lor. Goodly Lord, what a wit-snapper are you ! then bid 
them prepare dinner. 

Laun. That is done too, sir; only "cover" is the word. 
Lor. Will you cover then, sir ? 
30 Laun. ISTot so, sir, neither : I know my duty. 

Lor. Yet more quarrelling with occasion ! Wilt thou 

show the whole wealth of thy wit in an instant ? I pray 

thee, understand a plain man in his plain meaning : go to 

thy fellows ; bid them cover the table, serve in the meat, 

35 and we will come in to dinner. 

Laun. For the table, sir, it shall be served in; for the 
meat, sir, it shall be covered ; for your coming in to dinner, 
sir, why, let it be as humours and conceits shall govern. 

[Exit. 
Lor. dear discretion, how his words are suited ! 
40 The fool hath planted in his memory 
An army of good words ; and I do know 
A many fools, that stand in better place, 
Garnish'd like him, that for a tricksy word 
Defy the matter. How cheer'st thou, Jessica ? 
45 And now, good sweet, say thy opinion. 

How dost thou like the Lord Bassanio's wife ? 

Jes. Past all expressing. It is very meet 
The Lord Bassanio live an upright life ; 
For, having such a blessing in his lady, 
50 He finds the joys of heaven here on earth; 



ACT III. SCENE V 59 

And if on earth he do not mean it, then 
In reason he should never come to heaven. 
Why, if two gods should play some heavenly match 
And on the wager lay two earthly women, 
55 And Portia one, there must be something else 
Pawn'd with the other, for the poor rude world 
H^th not her fellow. 

Lor. "Even such a husband 

Hast thou of me as she is for a wife. 

Jes. Nay, but ask my opinion too of that. 
60 Lor. I will anon : first, let us go to dinner. 

Jes. Nay, let me praise you while I have a stomach. 

Lor. No, pray thee, let it serve for table-talk ; 
Then, howsoe'er thou speak'st, 'mong other things 
I shall digest it. 
65 Jes. Well, I'll set you forth. \_Exeuni 



60 THE MERCHANT OF VENICE 

ACT ly 

Scene I. Venice. A court of justice 

Enter the Duke, the Magnificoes, Antonio, Bassanio, Gra- 
TiANO, Salanio, audi others. 

Duke. What, is Antonio here ? 

Ant. Eeady, so please your grace. 

Duke. I am sorry for thee : thou art come to answer 
A stony adversary, an inhuman wretch 
5 Uncapable of pity, void and empty 
From any dram of mercy. 

Ant. I have heard 

Your grace hath ta'en great pains to qualify 
His rigorous course ; but since he stands obdurate 
And that no lawful means can carry me 
10 Out of his envy's reach, I do oppose 
My patience to his fury, and am arm'd 
To suffer, with a quietness of spirit, 
The very tyranny and rage of his. 

Duke. Gro one, and call the Jew into the court. 
15 Salan. He is ready at the door : he comes my lord. 

Enter Shylock. 

Duke. Make room, and let him stand before our face. 
Shylock, the world thinks, and I think so too, 
That thou but lead'st this fashion of thy malice 
To the last hour of act ; and then 'tis thought 
20 Thou'lt show thy mercy and remorse more strange 
Than is thy strange apparent cruelty ; 
And where thou now exact'st the penalty. 
Which is a pound of this poor merchant's flesh, 



ACT IV. SCENE I 61 

Thou wilt not only loose the forfeiture, 
25 But, touch'd with human gentleness and love, 

Forgive a moiety of the principal ; 

Glancing an eye of pity on his losses. 

That have of late so huddled on his back, 

Enow to press a royal merchant down 
30 And pluck commiseration of his state 

From brassy bosoms and rough hearts of flint, 

From stubborn Turks and Tartars, never train'd 

To offices of tender courtesy. 

We all expect a gentle answer, Jew. 
35 Shy. I have possess'd your grace of what I purpose ; 

And by our holy Sabbath have I sworn 

To have the due and forfeit of my bond : 

If you deny it, let the danger light 

Upon your charter and your city's freedom. 
40 You'll ask me, why I rather choose to have 

A weight of carrion flesh than to receive 

Three thousand ducats : I'll not answer that : 

But, say, it is my humour : is it answer'd ? 

What if my house be troubled with a rat 
45 And I be pleased to give ten thousand ducats 

To have it baned ? What, are you answer'd yet ? 

Some men there are love not a gaping pig; 

Some, that are mad if they behold a cat ; 

For affection, 
50 Mistress of passion, sways it to the mood 

Of what it likes or loathes. Now, for your answer : 

As there is no firm reason to be render' d. 

Why he cannot abide a gaping pig : 

Why he, a harmless necessary cat ; 
55 So can I give no reason, nor I will not. 

More than a lodged hate and a certain loathing 

I bear Antonio, that I follow thus 

A losing suit against him. Are you answer'd ? 



62 THE MERCHANT OF VENICE 

Bass. This is no answer, thou unfeeling man, 
60 To excuse the current of thy cruelty. 

Shy. I am not bound to please thee with my answers. 
Bass. Do all men kill the things they do not love ? 
Shy. Hates any man the thing he would not kill ? 
Bass. Every offence is not a hate at first. 
65 Shy. What, wouldst thou have a serpent sting thee twice ? 
Ant. I pray you, think you question with the Jew : 
You may as well go stand upon the beach 
And bid the main flood bate his usual height ; 
You may as well use question with the wolf 
70 Why he hath made the ewe bleat for the lamb ; 
You may as well forbid the mountain pines 
To wag their high tops and to make no noise. 
When they are f retten with the gusts of heaven ; 
You may as well do anything most hard, 
75 As seek to soften that — than which what's harder ? — 
His Jewish heart : therefore, I do beseech you, 
Make no more offers, use no farther means. 
But with all brief and plain conveniency 
Let me have judgement and the Jew his will. 
80 Bass. For thy three thousand ducats here is six. 
Shy. If every ducat in six thousand ducats 
Were in six parts and every part a ducat, 
I would not draw them ; I would have my bond. 

Duke. How shalt thou hope for mercy, rendering none ? 
85 Shy. What judgement shall I dread, doing no wrong ? 
You have among you many a purchased slave. 
Which, like your asses and your dogs and mules. 
You use in abject and in slavish parts. 
Because you bought them : shall I say to you, 
90 Let them be free, marry them to your heirs ? 
Why sweat they under burthens ? let their beds 
Be made as soft as yours and let their palates 
Be season'd with such viands ? You will answer 



ACT IV. SCENE I 63 

" The slaves are ours : " so do I answer you : 
95 The pound of flesh, which I demand of him, 

Is dearly bought ; 'tis mine and I will have it. 

If you deny me, fie upon your law ! 

There is no force in the decrees of Venice. 

I stand for judgement : answer ; shall I have it ? 
100 'Duke. Upon my power I may dismiss this court, 

Unless Bellario, a learned doctor. 

Whom I have sent for to determine this, 

Come here to-day. 

Solan. My lord, here stays without 

A messenger with letters from the doctor, 
105 New come from Padua. 

Duke. Bring us the letters ; call the messenger. 

Bass. Good cheer, Antonio ! What, man, courage yet ! 

The Jew shall have my flesh, blood, bones, and all, 

Ere thou shalt lose for me one drop of blood. 
110 Ant. I am a tainted wether of the flock, 

Meetest for death : the weakest kind of fruit 

Drops earliest to the ground ; and so let me : 

You cannot better be employ'd, Bassanio, 

Than to live still and write mine epitaph. 

Enter Nerissa, dressed like a lawyer'^s clerk. 

115 Duke. Came you from Padua, from Bellario ? 

Ner. From both, my lord. Bellario greets your grace. 

\_Presenting a letter. 
Bass. Why dost thou whet thy knife so earnestly ? 
JShy. To cut the forfeiture from that bankrupt there. 
Gra. Not on thy sole, but on thy soul, harsh Jew, 
120 Thou makest thy knife keen ; but no metal can. 
No, not the hangman's axe, bear half the keenness 
Of thy sharp envy. Can no prayers pierce thee ? 
Shy. No, none that thou hast wit enough to make. 



64 THE MERCHANT OF VENICE 

Gra. 0, be thou damn'd, inexecrable dog ! 

125 And for thy life let justice be accused. 
Thou almost makest me waver in my faith 
To hold opinion with Pythagoras, 
That souls of animals infuse themselves 
Into the trunks of men : thy currish spirit 

130 Grovern'd a wolf, who, hang'd for human slaughter, 
Even from the gallows did his fell soul fleet, 
And, whilst thou lay'st in thy unhallow'd dam, 
Infused itself in thee ; for thy desires 
Are wolvish, bloody, starved and ravenous. 

135 Shy. Till thou canst rail the seal from off my bond, 
Thou but offend'st thy lungs to speak so loud : 
Eepair thy wit, good youth, or it will fall 
To cureless ruin. I stand here for law. 

Duke. This letter from Bellario doth commend 

140 A young and learned doctor to our court. 
Where is he ? 

Ner. He attendeth here hard by. 

To know your answer, whether you'll admit him. 

Duke. With all my heart. Some three or four of you 
Gro give him courteous conduct to this place. 

145 Meantime the court shall hear Bellario's letter. 

Clerk. {^Reads'] Your grace shall understand that at the 
receipt of your letter I am very sick : but in the instant 
that your messenger came, in loving visitation was with me 
a young doctor of Rome ; his name is Balthasar. I ac- 

150 quainted him with the cause in controversy between the 
Jew and Antonio the merchant : we turned o'er many books 
together : he is furnished with my opinion ; which, bettered 
with his own learning, the greatness whereof I cannot 
enough commend, comes with him, at my importunity, to 

155 fill up your grace's request in my stead. I beseech you, let 
his lack of years be no impediment to let him lack a rever- 
end estimation ; for I never knew so young a body with so 



ACT IV. SCENE I 65 

old a head. I leave Mm to your gracious acceptance, whose 
trial shall better publish his commendation. 
160 Duke. You hear the learn'd Bellario, what he writes : 
And here, I take it, is the doctor come. 

m Enter Portia, dressed like a doctor of laws-. 

Give me your hand. Come you from old Bellario ? 

For. I did, my lord. 

Duke. You are welcome : take your place. 
165 Are you acquainted with the difference 

That holds this present question in the court ? 

Por. I am informed throughly of the cause. 
Which is the merchant here, and which the Jew ? 

Duke. Antonio and old Shylock, both stand forth. 

Por. Is your name Shylock ? 
170 Shy. Shylock is my name. 

Por. Of a strange nature is the suit you follow ; 
Yet in such rule that the Venetian law 
Cannot impugn you as you do proceed. 
You stand within his danger, do you not ? 

Ant. Ay, so he says. 
175 Por. Do you confess the bond ? 

Ant. I do. 

Por. Then must the Jew be merciful. 

Shy. On what compulsion must I ? tell me that. 

Por. The quality of mercy is not strain'd, 
It droppeth as the gentle rain from heaven 
180 Upon the place beneath : it is twice blest ; 
It blesseth him that gives and him that takes : 
'Tis mightiest in the mightiest : it becomes 
The throned monarch better than his crown 5 
His sceptre shows the force of temporal power, 
185 The attribute to awe and majesty. 

Wherein doth sit tlie dread and fear of kings ; 



6Q THE MERCHANT OF VENICE 

But mercy is above this sceptred sway ; 

It is enthroned in the hearts of kings, 

It is an attribute to God himself ; 
190 And earthly power doth then show likest G-od's 

When mercy seasons justice. Therefore, Jew, 

Though justice be thy plea, consider this. 

That, in the course of justice, none of us 

Should see salvation : we do pray for mercy ; 
195 And that same prayer doth teach us all to rendei 

The deeds of mercy. I have spoke thus much 

To mitigate the justice of thy plea ; 

Which if thou follow, this strict court of Venice 

Must needs give sentence 'gainst the merchant there. 
200 jShy. My deeds upon my head ! I crave the law. 

The penalty and forfeit of my bond. 

For. Is he not able to discharge the money ? 
Bass. Yes, here I tender it for him in the court ; 

Yea, twice the sum : if that will not suffice, 
205 I will be bound to pay it ten times o'er. 

On forfeit of my hands, my head, my heart : 

If this will not suffice, it must appear 

That malice bears down truth. And I beseech you, 

Wrest once the law to your authority : 
210 To do a great right, do a little wrong, 

And curb this cruel devil of his will. 

Por. It must not be : there is no power in Venice 

Can alter a decree established : 

'Twill be recorded for a precedent, 
215 And many an error by the same example 

Will rush into the state : it cannot be. 

/Shy. A Daniel come to judgement ! yea, a Daniel ! 

wise young judge, how I do honour thee ! 
Por. I pray you, let me look upon the bond. 
220 Shy. Here 'tis, most reverend doctor, here it is. 

Por. Shylock, there's thrice thy money offer'd thee. 



ACT IV. SCENE I 67 

Sky. An oath, an oath, I have an oath in heaven : 
Shall I lay perjury upon my soul ? 
No, not for Venice. 

Por. Why, this bond is forfeit ; 

225 And lawfully by this the Jew may claim 
A pound of flesh, to be by him cut off 
Nearest the merchant's heart. Be merciful : 
Take thrice thy money ; bid me tear the bond. 

Shy. When it is paid according to the ten our. 
230 It doth appear you are a worthy judge ; 
You know the law, your exposition 
Hath been most sound : I charge you by the law, 
Whereof you are a well-deserving pillar. 
Proceed to judgement : by my soul I swear 
235 There is no power in the tongue of man 
To alter me : I stay here on my bond. 

Aiit. Most heartily I do beseech the court 
To give the judgement. 

Por. Why then, thus it is : 

You must prepare your bosom for his knife. 
240 Shy. noble judge ! excellent young man ! 

Por. For the intent and purpose of the law 
Hath full relation to the penalty. 
Which here appeareth due upon the bond. 

Shy. 'Tis very true : wise and upright judge ! 
245 How much more elder art thou than thy looks ! 

Por. Therefore lay bare your bosom. 

Shy. Ay, his breast : 

So says the bond : doth it not, noble judge ? 
"Nearest his heart : " those are the very words. 

Por. It is so. Are there balance here to weigh 
250 The flesh ? 

Shy. I have them ready. 

Por. Have by some surgeon, Shylock, on your charge. 
To stop his wounds, lest he do bleed to death. 



68 THE MERCHANT OF VENICE 

Shy. Is it so nominated in the bond ? 
Por. It is not so express'd : but what of that ? 
255 'Twere good you do so much for charity. 

Shy. I cannot find it; 'tis not in the bond. 
Por. You, mercliant, have you anything to say ? 
Ant. But little : I am arm'd and well prepared. 
Give me your hand, Bassanio : fare you well ! 
260 Grieve not that I am fallen to this for you ; 
For herein Fortune shows herself more kind 
Than is her custom : it is still her use 
To let the wretched man outlive his wealth, 
To view with hollow eye and wrinkled brow 
265 An age of poverty ; from which lingering penance 
Of such a misery doth she cut me off. 
Commend me to your honourable wife : 
Tell her the process of Antonio's end ; 
Say how I loved you, speak me fair in death ; 
270 Aud, w^hen the tale is told, bid her be judge 
Whether Bassanio had not once a love. 
Eepent but you that you shall lose your friend, 
And he repents not that he pays your debt ; 
For if the Jew do cut but deep enough, 
275 I'll pay it presently with all my heart. 
Bass. Antonio, I am married to a wife 
Which is as dear to me as life itself ; 
But life itself, my wife, and all the world. 
Are not with me esteem'd above thy life : 
280 I would lose all, ay, sacrifice them all 
Here to this devil, to deliver you. 

Por. Your wife would give you little thanks for that. 
If she were by, to hear you make the offer. 
Gra. I have a wife, whom, I protest, I love : 
285 I would she were in heaven, so she could 

Entreat some power to change this currish Jew. 




" Tarry a little ; there is something else. 



ACT IV. SCENE I 69 

Ner. 'Tis well you offer it behind her back ; 
The wish would make else an unquiet house. 

Shy. These be the Christian husbands. I have a daughter: 
290 Would any of the stock of Barrabas 

Had been her husband rather than a Christian ! [^Aside, 

We trifle time : I pray thee, pursue sentence. 

Pot. a pound of that same merchant's flesh is thine : 
The court awards it, and the law doth give it. 
295 Shy. Most rightful judge ! 

For. And you must cut this flesh from off his breast : 
. The law allows it, and the court awards it. 

Shy. Most learned judge! A sentence ! Come, prepare ! 

Por. Tarry a little ; there is something else. 
300 This bond doth give thee here no jot of blood ; 
The words expressly are " a pound of flesh : " 
Take then thy bond, take thou thy pound of flesh ; 
But, in the cutting it, if thou dost shed 
One drop of Christian blood, thy lands and goods 
305 Are, by the laws of Venice, confiscate 
Unto the state of Venice. 

Gra. upright judge ! Mark, Jew: learned judge ! 

Shy. Is that the law ? 

Por. Thyself shall see the act : 

For as thou urgest justice, be assured 
310 Thou shalt have justice, more than thou desirest. 

Gra. learned judge ! Mark, Jew : a learned judge ! 

Shy. I take this offer, then ; pay the bond thrice. 
And let the Christian go. 

Bass. Here is the money. 

Por. Soft! 
315 The Jew shall have all justice; soft ! no haste : 
He shall have nothing but the penalty. 

Gra. Jew ! an upright judge, a learned judge ! 

Por. Therefore prepare thee to cut off the flesh. 
Shed thou no blood, nor cut thou less nor more 



70 THE MERCHANT OF VENICE 

320 But just a pound of flesh : if thou cut'st more 
Or less than a just pound, be it but so much 
As makes it light or heavy in the substance 
Or the division of the twentieth part 
Of one poor scruple, nay, if the scale do turn 
325 But in the estimation of a hair. 

Thou diest and all thy goods are confiscate. 

Gra. A second Daniel, a Daniel, Jew ! 
Now, infidel, I have you on the hip. 

Pot. Why doth the Jew pause ? take thy forfeiture. 
330 Shy. Give me my principal, and let me go. 
Bass. I have it ready for thee : here it is. 
Pot. He hath refused it in the open court : 
He shall have merely justice and his bond. 
Gra. A Daniel, still say I, a second Daniel ! 
335 I thank thee, Jew, for teaching me that word. 
Shy. Shall I not have barely my principal ? 
' Por. Thou shalt have nothing but the forfeiture, 
To be so taken at thy peril, Jew. 

Shy. Why, then the devil give him good of it ! 
340 I'll stay no longer question. 

Por. Tarry, Jew : 

The law hath yet another hold on you. 
It is enacted in the laws of Venice, 
If it be proved against an alien 
That by direct or indirect attempts 
345 He seek the life of any citizen, 

The party 'gainst the which he doth contrive 
Shall seize one half his goods ; the other half 
Comes to the privy coffer of the state ; 
And the offender's life lies in the mercy 
350 Of the duke only, 'gainst all other voice. 
In which predicament, I say, thou stand'st; 
For it appears, by manifest proceeding. 
That indirectly and directly too 



ACT IV. SCENE I 71 

Thou hast contrived against the very life 
355 Of the defendant ; and thou hast incurr'd 
The danger formerly by me rehearsed. 
Down therefore and beg mercy of the duke. 

Gra. Beg that thou mayst have leave to hang thyself : 
And yet, thy wealth being forfeit to the state, 
360 Thou hast not left the value of a cord ; 

Therefore thou must be hang'd at the state's charge. 

Duke. That thou shalt see the difference of our spirits, 
I pardon thee thy life before thou ask it : 
For half thy wealth, it is Antonio's ; 
365 The other half comes to the general state, 
Which humbleness may drive unto a fine. 

Por. Ay, for the state, not for Antonio. 

Shy. Nay, take my life and all ; pardon not that : 
You take my house when you do take the prop 
370 That doth sustain my house ; you take my life 
A¥hen you do take the means whereby I live. 

Por. What mercy can you render him, Antonio ? 

Gra. A halter gratis ; nothing else, for God's sake. 

Aiit. So please my lord the duke and all the court 
375 To quit the fine for one half of his goods, 
I am content ; so he will let me have 
The other half in use, to render it. 
Upon his death, unto the gentleman 
That lately stole his daughter : 
380 Two things provided more, that, for this favour. 
He presently become a Christian ; 
The other, that he do record a gift, 
Here in the court, of all he dies possess'd, 
Unto his son Lorenzo and his daughter. 
385 Duke. He shall do this, or else I do recant 
The pardon that I late pronounced here. 

Por. Art thou contented, Jew ? what dost thou say ? 

Shy. I am content. 



72 THE MERCHANT OF VENICE 

Por. Clerk, draw a deed of gift. 

Shy. I pray you, give me leave to go from hence : 
390 I am not well : send the deed after me, 
And I will sign it. 

Duke. Get thee gone, but do it. 

Gra. In christening shalt thou have two godfathers : 
Had I been judge, thou shouldst have had ten more, 
To bring thee to the gallows, not the font. \_Exit Shylock. 
395 Duke. Sir, I entreat you home with me to dinner. 
Por. I humbly do desire your grace of pardon : 
I must away this night toward Padua, 
And it is meet I presently set forth. 

Duke. I am sorry that your leisure serves you not. 
400 Antonio, gratify this gentleman, 

For, in my mind, you are much bound to him. 

\_Exeunt Duke and his train. 
Bass. Most worthy gentleman, I and my friend 
Have by your wisdom been this day acquitted 
Of grievous penalties ; in lieu whereof, 
405 Three thousand ducats, due unto the Jew, 
We freely cope your courteous pains withal. 
Ant. And stand indebted, over and above, 
In love and service to you evermore. 

Por. He is well paid that is well satisfied ; 
410 And I, delivering you, am satisfied 

And therein do account myself well paid : 
My mind was never yet more mercenary. 
I pray you, know me when we meet again : 
I wish you well, and so I take my leave. 
415 Bass. Dear sir, of force I must attempt you further : 
Take some remembrance of us, as a tribute. 
Not as a fee : grant me two things, I pray you, 
Not to deny me, and to pardon me. 

Por. You press me far, and therefore I will yield, 
420 [To Ant.'] Give me your gloves, I'll wear them for your sake ; 



ACT IV. SCENE I 73 

[To Bass.^ And, for your love, I'll take this ring from you : 
Do not draw back your hand : I'll take no more ; 
And you in love shall not deny me this. 
Bass. This ring, good sir, alas, it is a trifle ! 
425 I will not shame myself to give you this. 

For. I will have nothing else but only this ; 
And now methinks I have a mind to it. 

Bass. There's more depends on this than on the value. 
The dearest ring in Venice will I give you, 
430 And find it out by proclamation ; 
Only for this, I pray you, pardon me. 

For. I see, sir, you are liberal in offers : 
You taught me first to beg ; and now methinks 
You teach me how a beggar should be answer'd. 
435 Bass. Good sir, this ring was given me by my wife ; 
And when she put it on, she made me vow 
That I should neither sell nor give nor lose it. 

For. That 'sense serves many men to save their gifts. 
An if your wife be not a mad-woman, 
440 And know how well I have deserved the ring, 
She would not hold out enemy for ever, 
For giving it to me. Well, peace be with you ! 

[^Exeunt Portia and Nerissa. 
Ant. My Lord Bassanio, let him have the ring : 
Let his deservings and my love withal 
445 Be valued 'gainst your wife's commandment. 
Bass. Go, Gratiano, run and overtake him ; 
Give him the ring, and bring him, if thou canst, 
Unto Antonio's house: away! make haste. 

\_Exit Gratiano. 
Come, you and I will thither presently ; 
450 And in the morning early will we both 

Ely toward Belmont : come, Antonio. [Exeunt. 



74 THE MERCHANT OF VENICE 

Scene II. The same. A street 

Enter Portta and ISTerissa. 

Por. Inquire the Jew's house out, give him this deed 
And let him sign it : we'll away to-night 
And be a day before our husbands home : 
This deed will be well welcome to Lorenzo. 

Enter Gratiano. 

5 Gra. Fair sir, you are well o'erta'en : 
My Lord Bassanio upon more advice 
Hath sent you here this ring, and doth entreat 
Your company at dinner. 

For. That cannot be : 

His ring I do accept most thankfully : 
10 And so, I pray you, tell him : furthermore, 
I pray you, show my youth old Shylock's house. 
Gra. That will I do. 

JSfer. Sir, I would speak with you. 

\^Aside to Por.] I'll see if I can get my husband's ring, 
Which I did make him swear to keep for ever. 
15 Por. \^Aside to Ner.^ Thou mayst, I warrant. We shall 
have old swearing 
That they did give the rings away to men ; 
But we'll outface them, and outswear them too. 
l^Aloud'] Away ! make haste : thou know'st where I will 
tarry. 
N'er. Come, good sir, will you show me to this house ? 

[^Exeunt. 



ACT V. SCENE I 75 

ACT V 

Scene I. Belmont. Avenue to Portia's house 
Enter Lorenzo and Jessica. 

Lor. The moon shines bright : in such a night as this, 
When the sweet wind did gently kiss the trees 
Arid they did make no noise, in such a night 
Troilus methinks mounted the Troy an walls 
5 And sigh'd his soul toward the Grecian tents, 
Where Cressid lay that night. 

Jes. In such a night 

Did Thisbe fearfully o'ertrip the dew 
And saw the lion's shadow ere himself, 
And ran dismay'd away. 

Lor. In such a night 

10 Stood Dido with a wdllow in her hand 
Upon the wild sea banks and waft her love 
To come again to Carthage. 

Jes. In such a night 

Medea gather'd the enchanted herbs 
That did renew old ^son. 

Lor. In such a night 

15 Did Jessica steal from the wealthy Jew 

And with an unthrift love did run from Venice 
As far as Belmont. 

Jes. In such a night 

Did young Lorenzo swear he loved her well. 
Stealing her soul with many vows of faith 
And ne'er a true one. 
20 Lor. In such a night 

Did pretty Jessica, like a little shrew, 
Slander her love, and he forgave it her. 



76 THE MERCHANT OF VENICE 

Jes. I would out-night you, did no body come ; 
But, hark, I hear the footing of a man. 

Enter Stephaisto. 

25 Lor. Who comes so fast in silence of the night ? 
Stepli. A friend. 
Lor. A friend ! what friend ? your name, I pray you, 

friend ? 
Stepli. Stephano is my name ; and I bring word 
My mistress will before the break of day 
30 Be here at Belmont : she doth stray about 
By holy crosses, where she kneels and prays 
For happy wedlock hours. 

Lor. Who conies with her ? 

Steph. None but a holy hermit and her maid. 
I pray you, is my master yet return'd ? 
35 Lor. He is not, nor we have not heard from him. 
But go we in, I pray thee, Jessica, 
And ceremoniously let us prepare 
Some welcome for the mistress of the house. 

Enter Launcelot. 

Laun. Sola, sola ! wo ha, ho ! sola, sola ! 
40 Lor. Who calls ? 

Laun. Sola ! did you see Master Lorenzo ? 
Master Lorenzo, sola, sola ! 

Lor. Leave hollaing, man : here. 
Laun. Sola ! where ? where ? 
45 Lor. Here. 

Laun. Tell him there's a post come from my master, with 
his horn full of good news : my master will be here ere 
morning. [^Exit. 

Lor. Sweet soul, let's in, and there expect their coming. 
50 And yet no matter : why should we go in ? 



ACT V. SCENE I 77 

My friend Stephano, signify, I pray you, 

Within the house, your mistress is at hand ; 

And bring your music forth into the air. \^Exit Stephano. 

How sweet the moonlight sleeps upon this bank ! 
55 Here will we sit and let the sounds of music 

Creep in our ears : soft stillness and the night 

Become the touches of sweet harmony. 

Sit, Jessica. Look how the floor of heaven 

Is thick inlaid with patines of bright gold : 
60 There's not the smallest orb which thou behold'st 

But in his motion like an angel sings. 

Still quiring to the young-eyed cherubins ; 

Such harmony is in immortal souls ; 

But whilst this muddy vesture of decay 
65 Doth grossly close it in, we cannot hear it. 

Enter Musicians. 

Come, ho ! and wake Diana with a hymn : 
With sweetest touches pierce your mistress' ear 
And draw her home with music. \^Music. 

Jes. I am never merry when I hear sweet music. 

70 Lor. The reason is, your spirits are attentive : 
For do but note a wild and wanton herd, 
Or race of youthful and unhandled colts, 
Fetching mad bounds, bellowing and neighing loud, 
Which is the hot condition of their blood ; 

75 If they but hear perchance a trumpet sound, 
Or any air of music touch their ears. 
You shall perceive them make a mutual stand, 
Their savage eyes turn'd to a modest gaze 
By the sweet power oC music: therefore the poet 

80 Did feign that Orpheus drew trees, stones, and floods ; 
Since nought so stockish, hard and full of rage, 
But music for the time doth change his nature. 



78 THE MERCHANT OF VENICE 

The man that hath no music in himself, 
Nor is not moved with concord of sweet sounds, 
85 Is fit for treasons, stratagems, and spoils ; 
The motions of his spirit are dull as night, 
And his affections dark as Erebus : 
Let no such man be trusted. Mark the music. 

E7iter Portia and Nerissa. 

For. That light we see is burning in my hall. 
90 How far that little Candle throws his beams ! 
So shines a good deed in a naughty world. 

Ner. When the moon shone, we did not see the candle. 

For. So doth the greater glory dim the less : 
A substitute shines brightly as a king 
95 Until a king be by, and then his state 
Empties itself, as doth an inland brook 
Into the main of waters. Music ! hark ! 

Ner. It is your music, madam, of the house. 

For. Nothing is good, I see, without respect : 
100 Methinks it sounds much sweeter than by day. 

Ner. Silence bestows that virtue on it, madam. 

For. The crow doth sing as sweetly as the lark 
When neither is attended, and I think 
The nightingale, if she should sing by day, 
105 When every goose is cackling, would be thought 
No better a musician than the wren. 
How many things by season season'd are 
To their right praise and true perfection ! 
Peace, ho! the moon sleeps with Endymion, 
And would not be awaked. \_Music ceases. 

110 Lor. That is the voice. 

Or I am much deceived, of Portia. 

For. He knows me as the blind man knows the cuckoo, 
By the bad voice. 



ACT V. SCENE I 79 

Lor. Dear lady, welcome home. 

For. We have been praying for our husbands' healths, 
115 Which speed, we hope, the better for our words. 
Are they return'd ? 

Lor. Madam, they are not yet ; 

But there is come a messenger before. 
To signify their coming. 

For. Go in, Nerissa : 

Give order to my servants, that they take 
120 No note at all of our being absent hence ; 

Nor you, Lorenzo ; Jessica, nor you. \_A tucket sounds. 

Jjor. Your husband is at hand ; I hear his trumpet : 
We are no tell-tales, madam ; fear you not. 

For. This night methinks is but the daylight sick ; 
125 It looks a little paler : 'tis a day. 

Such as the day is when the sun is hid. 

Enter Bassanio, Antonio, Gratiano, and their followers. 

Bass. We should hold day with the Antipodes, 
If you would walk in absence of the sun. 

For. Let me give light, but let me not be light; 
130 For a light wife doth make a heavy husband. 
And never be Bassanio so for me : 
But God sort all ! You are welcome home, my lord. 

Bass. 1 thank you, madam. Give welcome to my friend. 
This is the man, this is Antonio, 
135 To whom I am so infinitely bound. 

For. You should in all sense be much bound to him. 
For, as I hear, he was much bound for you. 

Ant. No more than I am well acquitted of. 

For. Sir, you are very welcome to our house : 
140 It must appear in other ways than words, 
Therefore I scant this breathing courtesy. 



80 THE MERCHANT OF VENICE 

G-ra. [ To Ner.'] By yonder moon I swear you do me wrong ; 
In faith, I gave it to the judge's clerk. 

Por. A quarrel, ho, already ! what's the matter ? 
145 Gra. About a hoop of gold, a paltry ring 
That she did give me, whose posy was 
For all the world like cutler's poetry 
Upon a knife, " Love me, and leave me not." 
Ner. What talk you of the posy or the value ? 
150 You swore to me, when I did give it you. 

That you would wear it till your hour of death 
And that it should lie with you in your grave : 
Though not for me, yet for your vehement oaths. 
You should have been respective and have kept it. 
155 Gave it a judge's clerk ! no, God's my judge. 

The clerk will ne'er wear hair on's face that had it. 
Gra. He will, an if he live to be a man. 
Ner. Ay, if a woman live to be a man. 
Gra. Now, by this hand, I gave it to a youth, 
160 A kind of boy, a little scrubbed boy, 
No higher than thyself, the judge's clerk, 
A prating boy, that begg'd it as a fee : 
I could not for my heart deny it him. 

Por. You were to blame, I must be plain with you, 
165 To part so slightly with your wife's first gift ; 
A thing stuck on with oaths upon your finger 
And so riveted with faith unto your flesh. 
I gave my love a ring and made him swear 
Never to part with it ; and here he stands ; 
170 I dare be sworn for him he would not leave it 
Nor pluck it from his finger, for the wealth 
That the world masters. Now, in faith, Gratiano, 
You give your wife too unkind a cause of grief : 
An 'twere to me, I should be mad at it. 
175 Bass. \_Aside'] Why, I were best to cut my left hand off, 
■ And swear I lost the ring defending it. 



ACT V. SCENE I 81 

Gra. My Lord Bassaiiio gave his ring away 

Unto the judge that begg'd it and indeed 

Deserved it too ; and then the boy, his clerk, 
180 That took some pains in writing, he begg'd mine ; 

And neither man nor master would take aught 

But the two rings. 

For. What ring gave you, my lord ? 

Not that, I hope, which you received of me. 
Bass. If I could add a lie unto a fault, 
185 I would deny it ; but you see my finger 

Hath not the ring upon it ; it is gone. 

For. Even so void is your false heart of truth. 
Bass. Sweet Portia, 

If you did know to whom I gave the ring, 
190 If you did know for whom I gave the ring 

And would conceive for what I gave the ring 

And how unwillingly I left the ring. 

When nought would be accepted but the ring, 

You would abate the strength of your displeasure. 
195 For. If you had known the virtue of the ring, 

Or half her worthiness that gave the ring. 

Or your own honour to contain the ring. 

You would not then have parted with the ring. 

What man is there so much unreasonable, 
200 If you had pleased to have defended it 

With any terms of zeal, wanted the modesty 

To urge the thing held as a ceremony ? 

Nerissa teaches me what to believe : 

I'll die for't but some woman had the ring. 
205 Bass. No, by my honour, madam, by my soul, 

No woman had it, but a civil doctor, 

Which did refuse three thousand ducats of me 

And begg'd the ring ; the which I did deny him 

And suffer'd him to go displeased away ; 
210 Even he that did uphold the very life 



82 THE MERCHANT OF VENICE 

Of my dear friend. What should I say, sweet lady ? 
I was enforced to send it after him ; 
I was beset with shame and courtesy ; 
My honour would not let ingratitude 
215 So much besmear it. Pardon me, good lady ; 
For, by these blessed candles of the night. 
Had you been there, I think you would have begg'd 
The ring of me to give the worthy doctor. 

For. Let not that doctor e'er come near my house : 
220 Since he hath got the jewel that I loved. 

And that which you did swear to keep for me. 
I will become as liberal as you ; 
I'll not deny him anything I have. 

Ant. I am the unhappy subject of these quarrels. 

Por. Sir, grieve not you; you are welcome notwithstand- 
225 ing. 

Bass. Portia, forgive me this enforced wrong ; 
And, in the hearing of these many friends, 
I swear to thee, even by thine own fair eyes. 
Wherein I see myself — 

Por. Mark you but that ! 

230 In both my eyes he doubly sees himself ; 
In each eye, one : swear by your double self, 
And there's an oath of credit. 

Bass. Nay, but hear me : 

Pardon this fault, and by my soul I swear 
I never more will break an oath with thee. 
235 Ant. I once did lend my body for his wealth ; 
Which, but for him that had your husband's ring. 
Had quite miscarried : I dare be bound again. 
My soul upon the forfeit, that your lord 
Will never more break faith advisedly. 
240 Por. Then you shall be his surety. Give him this 
And bid him keep it better than the other. 

Ant. Here^ Lord Bassanio; swear to keep this ring. 



ACT V. SCENE I 83 

Bass. By heaven, it is the same I gave the doctor ! 
Por. I had it of him. You are all amazed : 
245 H^re is a letter ; read it at your leisure ; 
It comes from Padua, from Bellario : 
There you shall find that Portia was the doctor, 
Kerissa there her clerk : Lorenzo here 
Shall witness I set forth as soon as you, 
250 And even but now return'd ; I have not yet 
Enter'd my house. Antonio, you are welcome : 
And I have better news in store for you 
Than you expect : unseal this letter soon ; 
There you shall find three of your argosies 
255 Are richly come to harbour suddenly : 

You shall not know by what strange accident 
I chanced on this letter. 

Ant. I am dumb. 

Bass. Were you the doctor, and I knew you not ? 
Ajit. Sweet lady, you have given me life and living ; 
260 Por here I read for certain that my ships 
Are safely come to road. 

Por. How now, Lorenzo! 

My clerk hath some good comforts too for you. 

iVer. Ay, and I'll give them him without a fee. 
There do I give to you and Jessica, 
265 Prom the rich Jew, a special deed of gift. 
After his death, of all he dies possess'd of. 

Lor. Pair ladies, you drop manna in the way 
Of starved people. 

Por. It is almost morning. 

And yet I am sure you are not satisfied 
270 Of these events at full. Let us go in ; 
And charge us there upon inter'gatories, 
And we will answer all things faithfully. 

Gra. Well, while I live I'll fear no other thing 
So sore as keeping safe Nerissa's ring. \^Exeunt. 



EXPLANATORY NOTES 



Act I. Scene I 



Enter Salarino and Salanio. The names of these gentlemen 
-are variously spelled m the early Folios and Quartos, and 
the similarity of the abbreviations there used has led mod- 
ern editors to question what is the proper assignment of 
speeches. As the two are not important persons of the 
play, our uncertainty as to Shakespeare's intention need 
not trouble us. 
5 I am to learn. We should now say, "I have to learn," i.e. "I 
do not know." On the line, see Introduction, IV. d. 

8 ocean. A trisyllable, as in Milton's Hymn on the Nativity, 

where it rhymes with "began." See Introduction, IV. h. 2. 

9 argosies: large merchant ships, which, it is now supposed, 

took their name from the Dalmatian seaport Ragusa, 
sometimes called in sixteenth -century English Arragosa. 
The associations of the word are rich, as these vessels 
had generally a precious freight. 

11 pageants. Shakespeare probably had in mind here the 

huge representations of divers objects — ships among them 
— drawn about the London streets in a procession, like the 
"floats" of modern times. Line 11 is parenthetical. (A 
pageant seems to have been, originally, the wagon or 
movable stage on which a single play of the Collective 
Mysteries was presented. The word was next applied to 
the short Scriptural play itself, as, for example, "the 
pageant of Noah's flood " ; and later it was used for any 
gorgeous spectacle.) 

12 traffickers : traders ; here used, it is evident, for small trad- 

ing-vessels. 

85 



S6 EXPLANATORY NOTES [Act I 

10-14 Notice how these similes melt into metaphor, through 
the phrases on the flood and of the sea. The two preposi- 
tions have the same force, the expressions being equiva- 
lent lo "sea-burghers," "sea-pageants." In the verb curtsy 
the transition is complete, and we have metaphor, in that 
particularly vivid form which takes another name, because 
it ascribes personality to the object. 

18 It was usual to say "The wind sits in a certain quarter." 

What forms do we now use ? What is here gained by the 
substitution of sits for " sat " ? Would not the latter, fol- 
lowing should he, be more correct ? 

19 The repetition of sound in this line is an instance of the taste 

of Shakespeare's time. The Elizabethan loved alliterations, 
jingles, and plays upon words. He enjoyed the sparkle of 
a pun just as he did the changing light in the jewel on 
his finger. See also sc. ii, lines 6, 7, " mean " ; line 22, 
" will " ; line 37, " colt " ; and lines 58, 60, " say to." Which 
of the dictionary definitions of road applies to the present 
case? 
27 Andrew : the supposed vessel's name. It has been conjectured 
that it was then a favorite name for ships, taken from that 
of the Genoese admiral, Andrea Doria. 

27 dock'd. Bearing in mind the remarks in the Introduction, I, 

what can you make of this participle, tracing its meaning 
from the noun " dock " ? 

28 Vailing : lowering, as in salutation. 

28 high-top : a ship's top or masthead. What picture of the 

wrecked ship do you form ? How is she lying ? 

29 her burial : that which buries her, i.e. the sand. But defini- 

tion does not render all the suggestiveness of the phrase to 
kiss her burial. 

35 but even now worth this. How would you make the word 
this emphatic, and intelligible to the audience, if you were 
acting the part of Salarino? 

42 What figure of rhetoric do we find in bottom? Is there a 
similar usage in Latin ? 

44 Upon : dependent upon. There is an unaccountable incon- 
sistency here ; compare the statement in 177. 

46-50 Probably Antonio's gesture of denial, and a brief pause. 



Sc. I] EXPLANATOKY NOTES 87 

with a searching look from Salarino, fill the time required 
for line 46, taking the place of the last foot. The irregu- 
larity of the succeeding lines well represents Salarino's 
rapid, informal talk. Line 47 may be read as a satisfac- 
tory pentameter by several methods : — 

\y w vyw WW — 

1. Not in I love nei|ther ? Then ] let us say | you are sad. 

\J V^ W W 

2. Not in 1 love neijther ? Then | let's say | you're sad. 



_ y _ rn'er? 

"3. Not in I love \ 

I neith'r ? 



W W — 

Then let | us say 



WW 

you are sad. 

w 

you're sad. 



The third reading involves a change of emphasis. Ej^ has 

sometimes the sound of the French re. See Introduction 

IV. a, and h. 1. 
In line 48 the fourth foot may be read as an anapest, or it 

may be held that the last syllable of merry is merged in 

and. 
In line 49 the last foot may be contracted or not, according 

to pleasure; an unaccented syllable is added, as in 48; 

see Introduction, lY. i. Line 50 is, the editor believes, 

a hexameter. See Introduction, lY. e. 
What was the office of Janus, in the Roman mythology, and 

how was he represented? Why is the oath by Janus appro- 
priate here? 
52, 53 Describe the face which is pictured to your imagination 

by these two lines, giving peep its full force. 
54 other. Frequently used as a plural in Shakespeare's time, as 

in Job xxiv. 24 : " They are taken out of the way as all 

other, and cut off as the tops of the ears of corn." 
54 vinegar aspect. See Introduction, I. and lY. h. 3. 
56 Nestor: the wise old king who appears in the Iliad; here 

made a type of gravity — by what figure of rhetoric? 

Compare Troilus and Cressida, Act I, sc. iii, line 65 : — 

•* As venerable Nestor, hatch'd in silver," etc. 

61 prevented me : taken precedence of me, and forestalled my 
intention. What is the derivation of the word ? 



88 EXPLANATORY NOTES [Act I 

66 Bassanio presses his friends to appoint some time for a mirth- 

ful meeting; Salariuo (line 68) prefers to leave it to him. 

67 must it be so ? probably refers to the " strangeness " of which 

Bassanio playfully complains; but it may mean, "Must 
you really go now?" We still frequently hear, "You're 
quite a stranger." 

69 Notice the pronunciation of both these proper names which 
is demanded by the measure. Abbott notes (Section 469, 
Shakespearian Grammar^ that polysyllabic names often 
receive but one accent. 

72 See Introduction, TV. d. 

74 respect upon: care about, mindfulness of; literally, looking 
upon. Compare Isaiah xvii. 7 : "At that day shall a man 
look to his Maker, and his eyes shall have respect to the 
Holy One of Israel." 

79 play the fool. This must have had a special meaning to 
any one familiar with the Elizabethan stage. The Vice, 
or jester, was a favorite character in the earlier English 
plays ; and Shakespeare, following the custom, created for 
his public a number of professional fools, such as Touchstone 
in As You Like It and Olivia's clown in Twelfth Night. 

82 mortifying. Here used in the sense indicated by the deriva- 
tion of the word : death-causing. It was then believed that 
groans and sighs shortened life. 

85 the jaundice. This malady may proceed from a troubled state 
of mind. See Dr. Holmes, Autocrat of the Breakfast Table: 
" She did not write a mournful poem . . . but she quietly 
turned of a deep orange color with jaundice." 

88 sort : set, company. Compare Midsummer Night's Dream, 

Act III, sc. ii, line 13 : — 

*' The shallowest thick-skin of that barren sort." 

89 cream and mantle. See Introduction, I. 

90 Supply "who" before do. For the commonness of ellipsis, 

see Introduction, I; in particular, the nominative was often 
omitted. 

90 entertain : keep ap, maintain. 

91 to be dress'd in an opinion : to be invested with a reputation. 

92 conceit : conception, thought. 



Sc. I] EXPLANATORY NOTES 89 

93 As who should say. An idiom meaning, nearly, "as if one 
should say," or " like one who should say." 

98 Supply " they " before would. See 90. 

99 Cf. Matthew v. 22. 

101 this melancholy bait : this bait of melancholy. 

102 this fool gudgeon. The word fool has here an adjective 

force, as also in Act II, sc. ix, line 26. Gudgeon is a cer- 
tain fish easily caught, according to Izaak Walton. It 
would be well to determine what figures of rhetoric appear 
in tHese two lines. 

102^ opinion: reputation, as before. For the pronunciation, see 
Introduction, TV. g. 2. 

108 moe : more. 

110 for this gear : on account of this stuff [that you have said]. 

112 vendible : marketable, i.e. disposable in marriage. See As 

You Like It, Act I, sc. ii, line 103, and Act III, sc. v, line 
60. This bit of doggerel is in keeping with the " skipping 
spirit " of Gratiano. It would not be profitable to scan the 
lines, which are quite lawless metrically. 

113 " Now what does that amount to? " 

116 shall : may, as frequently in Shakespeare. The same usage 

is to be found in Emerson's Essays, but not in the ordinary 

speech of to-day. 
124 something : somewhat. 
124 swelling : extravagant. 
124 port is usually explained as "state " ; but it seems to have its 

usual force (carriage, bearing) extended to the general 

conduct of life, the carrying on of affairs. 

129 my time :. i.e. time of life. See Sonnet LXXIII : — 

" That time of year thou mayst in me behold." 

Bassanio's "time of year" was "proud-pied April" (Sonnet 
XCYIII), or "costly summer," Act II, sc. ix, line 94. 

130 gaged: pledged. 

135 it : the enterprise you purpose. 
136, 137 " If it be such that Honour may look upon it." 
139 occasions: necessities. See Introduction, lY. ^. 2. 
141 his. This was still used in Shakespeare's time as the posses- 
sive case of it, the form its being rare. 



90 EXPLANATORY NOTES [Act 1 

141 flight : range of flight. The second arrow was exactly like 

the first in length and weight, and hence would have the 
same range, and, if aimed " the self -same way," would fall 
near its fellow. 

142 advised : careful. How many syllables are required? 

143 In adventuring, the third syllable, being unaccented, was 

probably softened in speaking the line, which may be read 
as an Alexandrine, unless one prefers to render the second 
foot " th' other forth." According to Dr. Abbott's rules, 
we should contract thus: "th' o(th)er," — reducing three 
syllables to one, and the line to a pentameter. See Intro- 
duction, IV. ^.1. 

144 childhood proof: proof belonging to the period of childhood. 

Childhood is here treated as a genitive used adjectively, as 
in Midsummer Night's Dream, Act III, sc. ii, line 202 : — 

" All school-days' friendship, childhood innocence." 

146, 147 This is one of those twisted sentences, capriciously 
changing its subject, which we are now taught to avoid. 
The logical and grammatical close would be, " that which 
I owe, I have lost." 

148 self: same. 

150, 151 Or and or are still used as corresponsive conjunctions in 
poetry. Try to find a modern example. 

154 circumstance: circumlocution; "beating about the bush." 

160 prest: ready, prompt; from the Old French. It would be 
interesting to the student to trace the connection with 
presto. 

163 sometimes: formerly; at a certain time in the past. Com- 
pare sc. ii, lines 98-106. 

165 undervalued : inferior. 

166 To know what this meant to Shakespeare, we must have read 

Julius Ccesar, Act II, sc. i. How many syllables must we 
give to the name Portia in this line? See Introduction, 
IV. h. 2. 
170 a golden fleece. Consult a classical dictionary for the whole 
story of Jason's voyage in the Argo to seek the golden 
fleece, which, guarded by a dragon, hung in a sacred grove 
at Colchos. These old Greek stories were very familiar to 



Sc. 1, II] EXPLANATORY NOTES 91 

the Elizabethans, who constantly drew upon them for illus- 
tration. The basis of this happy simile is the combination 
of color and preciousness. Many Venetians had beautiful 
red-golden hair, as we see in the pictures of Titian, Gior- 
gione, and others. 
178 For a possible treatment of neither in this line, see note on 
46-50. 

Act I. Scene II 

1 Notice the change of form. See Introduction, V. Which of 
the characteristics of Euphuism do you find in this scene ? 

6 mean : small. 

7 the mean : the middle. What is the rhetorical term for this 

trick of language? See note on sc. i, line 19. 

7, 8 comes by: gets. See sc. i, line 3. How would you put 
into other words the ideas here embodied in superfluity and 
competency ? What is the figure ? 

9 sentences : wise sayings. Look up the derivation of senten- 
tious. 
16 The brain . . . the blood. In Shakespeare we find again and 
again a contrast between the blood, i.e. impulse, passion, 
and the brain, reason or "judgement," the last term being 
most commonly used. 

" If the balance of our lives had not one scale of reason to poise 
another of sensuality, the blood and baseness of our natures 
would conduct us to most preposterous conclusions." — Othello, 
Act I, sc. iii, line 330. 

" Blest are those 
Whose blood and judgement are so well commingled 
That they are not a pipe for fortune's finger 
To sound what stop she please." — Hamlet, Act III, sc. ii, line 73. 

35 level at : aim at, as in directing an arrow. 

37 colt. A play on the word, which sometimes meant "a witless 
youngster." — Dr. Johnson. 

40 County Palatine : " count palatine ... not the title of a par- 
ticular office, but an hereditary addition of dignity and 
honour, gotten by service done in a domesticall charge." 
(Cotgrave, quoted by Dr. Skeat.) 

41, 42 " If / don't suit you, use your pleasure ! " 



92 EXPLANATORY NOTES [Act 1 

43 the weeping philosopher. This name was given to Heraelitus 
of Ephesus, wlio lived about 500 B.C. Democritus was 
" the laughing philosopher." 

48 Compare the preposition in 58.- 

60 say to. See note on sc. i, line 19. 

63 proper : handsome. 

65 suited : clad. 

66 round hose: trunk hose, stuft'ed breeches. An Italian cos- 

tume of the sixteenth century, including the quilted doub- 
let, may be seen by looking at the queer little figure of 
Punch in the English illustrated paper of that name. 

72 sealed under. The Clarendon Press editors point out that 
the principal was said to "seal to" a bond; his surety 
"sealed under." This allusion to the traditional good 
feeling between Scotland and France, and their joint hos- 
tility to England, must have delighted a London audience 
in Queen Elizabeth's days; but in the First Folio, pub- 
lished while James I. was king, " other " is prudently sub- 
stituted for " Scottish." 

78 and the worst fall: if the worst befall. And frequently has 
this meaning ; it is sometimes written an. 

80, 81, 82 In which of these cases does should conflict with 
modern usage? 

89 determinations may be regarded as singular in thought, since 
the determinations of Portia's suitors were the same; and 
perhaps this is the reason for the singular verb. 

91, 92 by some other sort : in some other manner. Compare The 
Tempest, Act IV, sc. i, line 146 : "You do look, my son, in 
a moved sort." But Richard Grant White believed that 
the word is here used in its radical sense ; Latin sors, 
a lot. 

93 Sibylla. Used for the Cumaean Sibyl, to whom, as Ovid tells 
the story, Apollo promised years as many as the grains of 
sand in her grasp. 

95 this parcel of wooers are. A grammatical confusion common 
enough in Shakespeare, which would be most deplorable 
at the present day. Compare sc. i, line 88. 

95 parcel : set, company. 

96 his very absence. The wittiness of this saying consists in the 



Sc. II, IIIJ EXPLANATORY NOTES 93 

surprise. We expected some other word to follow very, 
and Portia startles us with an anticlimax and a paradox. 

108, 109 four strangers ... a fifth. Six have been mentioned ; 
but probably there were only four in the original manu- 
script ; two, it would appear, were subsequently introduced 
in the stage version, and the author forgot to change these 
lines. 

112, 113 so . . as. What should we use to-day? 

114 condition: disposition, temper. 

114 complexion. A dark complexion was looked upon with dis- 
• favor in Shakespeare's time. Compare Sonnet CXXVII : 

" In the old age black was not counted fair." 

115 shrive: absolve. "I would rather have him for my con- 

fessor than for my husband." 
117, 118 Portia's gayety of heart appears in these irresponsible 
lines. It would be useless to scan them ; but they may be 
rendered tolerable to the ear by slurring wooer. 

Act I. Scene III 

1 ducats. A ducat was literally a coin issued by a duke. It 
took its name from the word Ducatus, a duchy, occurring 
in a Latin motto sometimes inscribed on the ducat. Ducats 
were coined both in gold and in silver. Coryat says in his 
"Crudities" that in Venice, in 1608, a ducat was worth 
4s. Qd. (roughly speaking, a United States dollar). 
6 May you stead me ? " Can you assist me ? " 
6 stead: stay, hold up. Compare The Tempest, Act I, sc. ii, 
line 165 : " Stuffs and necessaries Which since have steaded 
much." 
11 good : of sound credit. 

17 upon the Rialto. Similar to the London phrase " on 'Change." 
The Rialto, Staunton explains, was a name given to three 
distinct places in Venice : (1) the island at the farther side 
of the Grand Canal; (2) the Exchange on that island; 
(3) the bridge connecting the island with St. Mark's 
Quarter. Here Shylock means the Exchange. Of this 
Exchange Coryat writes: "The Rialto ... is a most 
stately building, being the Exchange of Venice, where the 



94 EXPLANATOKY NOTES [Act I 

Venetian gentlemen and the merchants doe meete twice a 
day. . . . This Rialto is of a goodly height, built all with 
bricke as the palaces are, adorned with many faire walkes 
or open galleries, . . . and hath a pretty quadrangular 
court adjoining to it." The word Rialto seems originally 
to have meant " high shore." 

18 squandered: scattered. 

24, 25 "I assure you " is so commonly used in the sense of 
" I emphatically declare to you," without any thought of 
the exact meaning of assure, that the repetition here 
has the force of a pun. Bassanio means, " Rest satisfied 
you may " ; Shylock answers, " I ivill be made certain," 
in a keen and dry manner that points the change of 
meaning. 

29 Nazarite. Properly, in modern use, not a dweller in Naza- 
reth, but one who has taken certain vows ; compare Judges 
xiii. 5 : " The child shall be a Nazarite unto God." In 
Shakespeare's time and earlier, however, Nazarite was also 
the usual English word for a man of Nazareth ; and it is 
so given in all translations of the Bible before the King 
James's version. 

35 a fawning publican. It remains a puzzle why Shylock should 

apply this term to Antonio. Certainly the latter's mannei' 
is anything but " fawning." Publican may mean a farmer 
of taxes under the Roman government ; and this would be 
a Jew's association with the word. On the other hand, it 
may mean, as it often does, an innkeeper. In neither case 
does it appear appropriate to Antonio, even from Shylock's 
point of view. We are led to suspect that there is a hope- 
less corruption of the text. 

36 for: because. 

39 usance. Interchangeably used, in this play, with " interest " 

and '' usury." Find in the dictionary the difference in the 
modern application of the latter words. Shylock means 
" the rate of interest." 

40 upon the hip : at advantage ; a term of wrestling. 

53 desire. Probably lengthened in pronunciation; unless we 
may suppose a pause, filled by Shylock's salutation to An- 
tonio. See Introduction, IV. h. 2. 



Sc. Ill] EXPLANATORY NOTES 95 

56 excess : interest, i.e. excess over the sum lent, returned when 
the debt is paid. 

58 possess'd : informed ; put into possession of the fact in ques- 
tion. To whom does Antonio address this last sentence? 

61 To whom does Shylock say, "You told me so"? 

63 Methought. It is well to remember that in this expression 

me is a dative, and thought an impersonal verb coming 
from the Anglo-Saxon thincan, to seem (not from thencan, 
to think). 

64 "It has never been my custom." 

72 were compromised: had made an agreement. Shylock gets 

his story from Genesis xxx. 

73 eanlings : new-born lambs. 

78 Fall. Here a transitive verb, not as in 74. 

88 It is supposed that Antonio alludes to Matthew iv. 6; but 

this is not necessarily the case. 
95 beholding. Here used instead of the more common and 

more correct "beholden"; indebted. 
97 rated : harshly reproved. 

100 A metaphor. "A patient bearing is the distinguishing mark 
of my race." The figure gains force, no doubt, from the 
presence of an actual badge, to which Shylock points in 
illustration; probably his orange-tawny cap or turban, 
though he may have worn a red hat, as a Jew born in 
Italy. 

102 gaberdine: a gown or frock, apparently not different among 
the Jews from the same garment as worn by others. The 
phrase is, then, a condensation of "upon my gaberdine, 
because it is Jewish," i.e. belongs to a Jew. 

105 Go to. This colloquial expression may be variously rendered, 
according to the context. Here it is equivalent to " Well," 
as above, but with a slight shade of reproof. See note on 
Act II, sc. ii, line 146. 

119 Notice the impressiveness of the broken line. See Intro- 
duction, IV. d. 

124 Antonio's argument is that money cannot really multiply 
itself. For Shylock's use of the same term, cf. line 86. 

126 See note on sc. i, lines 146, 147. 

130 doit : a Dutch coin of that time, of very small value. 



96 EXPLANATORY NOTES [Act I, Sc. Ill 

132, 133 It is interesting to know that these lines, which appear 
irregular, are really following an unwritten law. Dr. Ab- 
bott points out (Section 514, Shakespearian Grammar) that 
Shakespeare sometimes treats interruptions as parentheti- 
cal, and forming no part of the complete line. Thus, the 
real line 132 would be : — 

This is kind I offer. [ ] This kindness will I show. 

To reduce this to a satisfactory pentameter, we must re- 
member that er has often the sound of French re, and must 
either consider that the first foot is an anapest, or that is 
is merged in this. Abbott prints " this kind." 

135 single. A single bond, in legal phraseology, was a bond 
without a condition attached. This certainly does not 
describe the bond proposed by Shylock ; hence the legal 
sense of the word does not seem to be intended. The 
Clarendon Press editors think that Shylock means a bond 
without sureties, having Antonio's signature only. But 
perhaps your single bond is equivalent to "your mere 
' bond," and presents an example* of transferred epithet, 
meaning " merely seal me your bond." Shylock is belit- 
tling the operation by which the money is to be raised. 

139 nominated for : named as. 

139 equal : just, exact. 

151 teaches. Possibly this form of the verb, with a plural sub- 
ject, is a survival of an early English usage, the formation 
of the plural in es. "To" is omitted before suspect. 

156 This may be called an Alexandrine, or we may prefer to 
call it a case of the insertion of two unemphatic syllables 
after the second foot. Whatever term we use, we should 
touch the last syllables of estimable very lightly in reading. 

165 fearful : causing (me) fear. This is one of the adjectives 
which may be either active or passive in meaning. 

168-171 See Introduction, IV. g. 



Act II. Sc. I] EXPLANATORY NOTES 97 



Act II. Scene I 

Enter the Prince of Morocco. The First Folio adds, "a tawnie 
Moore all in white." 

1 complexion. See Introduction, IV. h. 2. 

2 Explain the figures in this line. The connotation of the 

word livery, in Shakespeare's time, made the word more 
suitable for poetry than it would now be. Associations 
with the old system of retainers and cognizances clung 
• about it. Compare Milton, Comus : — 

" And send a liveried angel, if need were." 

6 make incision. This violent proof of love was not unknown 
among the young gallants of the Elizabethan period, as 
we find in the plays of Ben Jonson and Fletcher. 
9 fear'd : made afraid. 

18 wit: wisdom. 

25, 26 the Sophy : the Emperor of Persia. Apparently Morocco 
served under Sultan Solyman the Magnificent in the first 
half of the sixteenth century, and slew the Sophy, and also 
a Persian prince who had previously defeated Solyman in 
three battles. Shakespeare is rather seeking to convey a 
general notion of Morocco's prowess than to be historically 
accurate. 

31 alas the while ! This exclamation really means little more 

than alas, though literally its significance would be "alas 
for the present time ! " Compare sc. ii, line 63, "Alack the 
day." . 

32 Lichas was the servant of Hercules, or Alcides. 
32, 33 What is the ellipsis before ivhicTi ? 

42 advised. See Act I, sc. i, line 142. 

43 The double negative is proper in Shakespeare, as in Chaucer. 

44 temple : loosely used for church . Morocco was to take a 

solemn vow. 
46 blest. The meaning is '■'■most blest." The Elizabethans 
often attached terminations to a second adjective which 
aifected the preceding adjective also, or the reverse. But 
in this case perhaps the syllable est has been absorbed. 



98 EXPLANATOEY NOTES [Act II 



Act II. Scene II 

Enter Launcelot. The First Folio has, "Enter the Clowne 
alone." This indicates that Gobbo, though not repre- 
sented as a professional jester, was intended to supply, in 
the present play, the element of coarse fun usually pro- 
vided by the fool in the drama. , See note on Act I, sc. i, 
line 79. From such a fellow we expect whimsical remarks, 
with only a slight thread of sense to hold them together ; 
and we need not trouble ourselves to reconcile the incon- 
sistencies of his speech, for in those very inconsistencies 
its drollery resides. Compare Mrs. Malaprop in Sheridan's 
comedy, The Rivals, for curious errors like incarnal for 
" incarnate," line 23 ; frutify for " certify," line 122 ; im- 
pertinent for " pertinent," line 125 ; and in the speech of 
Old Gobbo, whose eccentricities of language are similar, 
defect for "effect," line 130. 
7, 8 To scorn with the heels was frequently used for "to spurn." 
9 pack : begone. " Pack yourself off." Via ! was the word of 
encouragement then used to horses ; it was probably from 
the Italian, and meant " Av/ay ! " 

10 for the heavens. This was generally equivalent to the oath 
" by heaven" ; but its force here appears to be "for heaven's 
sake." 

15 grow to. The Clarendon Press editors explain this as "a 
household phrase, applied to milk when burnt to the bot- 
tom of the saucepan," in which case it has a kind of taste. 

20 The parenthetical exclamation God bless the mark! is dif- 
ficult to explain. Originally, perhaps, it accompanied the 
action of making the sign of the cross ("the mark") to 
avert evil of any kind ; and possibly Launcelot so uses it, 
before his mention of the devil. (But in many other cases 
it occurs with an ironical force, as "forsooth " or " indeed " 
is sometimes used ; compare Othello, Act I, sc. i, line 33, 
and 1 Henry IV., Act I, sc. iii, line 56.) 

22 saving your reverence, also parenthetical, is like the phrase 
" with all due respect " ; the speaker excuses himself in 
advance for saying something improper. 



Sc. II] EXPLANATORY NOTES 99 

23 in my conscience : in my conception, according to my notion 

of the matter ; a play on the word. 

31 sand-blind: partly blind, as opposed to "stone-blind"; Laun- 

celot invents an intermediate condition, high-gravel blind. 
It would be interesting to look up the derivation of sand- 
in this old compound adjective. 

32 try confusions. " I'll try conclusions with him " was a stock 

expression meaning "I'll argue with him." The reason 
for Launcelot's amendment sufficiently appears in his next 
speech. 

§6 marry. A familiar expletive, originally the oath " by Mary," 
or an appeal to the Virgin, but harmlessly used, in Shake- 
speare's time, without that sense. It corresponds to our 
"indeed," "however/' "well then," or various other forms, 
according to the general character of the passage. 

39 sonties. A word of doubtful meaning. It is possibly from 
the French sante, health; possibly a corrupt diminutive, 
equivalent to " dear little saints " ; possibly a perversion 
of "sanctities." 

47 well to live : likely to live long. 

48 a'. A colloquialism for " he." 

51 ergo. Launcelot has picked up a scrap of Latin, and uses it 
as a flower of speech, without much meaning, except per- 
haps in line 54. 

55 father. Here, and in line 139, used only as a familiar form 
of address to an old man. 

83 thou. Note the change from the more respectful and formal 
you, proper in addressing a superior. 

84, 85 Lord worshipped might he be ! Might was then used to 
express a wish, as we now^ use " may"; the sense is simply, 
" The Lord be worshipped ! " The exclamation expresses 
Old Gobbo's surprise and pleasure at the growth of Laun- 
celot's beard. (It is stage tradition for the rogue Launcelot 
to kneel with his back to his father ; the old man, stroking 
his son's long hair, takes it for a beard.) 

86 fill-horse : thill-horse, i.e. horse that goes in the shafts or 
thills. 

94, 95 set up my rest. It is clear enough that this expression 
means " made up my mind " ; but not so clear what is the 

H 

u •fa 



100 EXPLANATORY NOTES [Act II 

metaphor involved. Perhaps the rest or support of the 
heavy old matchlock is meant; in that case the figure 
would be : "I have fixed my rest firmly in the ground, and 
am ready to level my piece." Perhaps the rest or wager of 
the card-player is meant ; in that case the figure would be : 
. " I have laid down the sum betted, backing the cards I 
have in my hand." It will be seen that either action is 
decisive. Notice the play on words. 
99 me : for me ; a dative. 

106 put the liveries to making : set the tailor to making the 
liveries. 

110 Gramercy ! many thanks ; from the French grand merci. 

114 infection : possibly a twisting of " affection," in the sense of 
" desire." 

119 cater-cousins : " a term formerly applied to persons on terms 
of ' cousinship,' intimate friendship, or familiarity with 
each other, who, though not cousins by blood, were ' next 
cousins' in some respect, or perhaps called each other 
'cousin' from some community of life, interests, or em- 
ployments." — Murray, New English Dictionary. The 
meaning of are scarce cater-cousins appears to be, " do not 
agree very well." 

133 preferr'd. This word combines the sense of " recommended " 
and "transferred," and also conveys the idea of promotion, 
to which preferment is equivalent. 

136 The old proverb. The pithiest version of the saying referred 
to is the Scotch : " God's grace is gear enough." 

142 guarded : ornamented with lace or galloon. 

143 in: "into the house with you," — "go in." Shylock's house 

is probably not far away, despite Launcelot's lucid 

direction. ■ 
145 table : the palm of the hand. This is one of the few cases 

in which the present edition differs from the Globe text. 

An exclamation point is inserted after table, in accordance 

with the suggestion of Kenrick, quoted with approval by 

Furness. 
145, 146 These lines have given great trouble to commentators. 

The difficulty may be met by understanding a few words 

which Launcelot evidently had in mind, but did not feel 



Sc. II, III] EXPLANATOKY NOTES 101 

bound to supply. " Well (I'll be hanged [or some equiva- 
lent expression]), if any man in Italy have a fairer table 
(than this) ; which doth offer to swear upon a book (that) 
I shall have good fortune." " Doth offer to swear upon a 
book " is merely his whimsical way of saying " doth offer 
to testify (by its lines) ; " and the words are peculiarly 
appropriate, as the palm would be laid upon the book in 
swearing. 

146 Go to. This elastic expression should, in the present instance, 
require no explanation for any one who has ever heard the 
• Southern " go 'long," or " go 'way," or the rough " ah, go 
on" of the New York streets. 

146 simple, i.e., poor, mean, is, of course, ironic, being part of the 
unctuous pretended depreciation by which Launcelot shows 
his relish for his promised good fortune. 

148 coming in : inheriting (for inheritance) ; as one is said to 
"come into" a fortune; acquisition. 

152 for this gear : for this business (of promising me such won- 
derful things — or, perhaps, of getting me into Bassanio's 
service) . 

170 liberal: free. Furness suggests " free-and-easy." 

175 habit. Gratiano is using a metaphor (compare the same 
speaker's " to be dressed in an opinion," Act I, sc. i, line 
91), and is at the same time playing on the word hahit, and 
giving it the double sense of "customary demeanor," and 
"costume." For the same metaphor see line 187. 

179 Thus with my hat. It was customary to wear hats during 
dinner. 

181 studied : prepared by study, as an actor would be in his part. 

181 a sad ostent: a grave appearance. 



Act II. Scene III 

10 exhibit. This may be one of Launcelot's perversions of lan- 
guage, for " prohibit," or " inhibit " ; the sense would then be 
"tears forbid me to speak." It may, however, mean, "tears 
set forth my speech," i.e. what my tongue would otherwise 
say. 



102 EXPLANATORY NOTES, [Act II 



Act it. Scene IV 

5 If this awkward line be correctly given, it is equivalent to 

" We have not yet bespoken torch-bearers for ourselves." 
But Dr. Furness thinks, with Rowe, Pope, and others, that 
us is probably a misprint for "as." 

6 quaintly ordered : artistically contrived. What do you under- 

stand to be the antecedent of it f 
12-14 For a similar play on hand, see As You Like It, Act IV, 

sc. iii, lines 24-29. 
19 What do you suppose this to have been ? 
26 some hour hence: about an hour hence. In exceptional cases 

some is used by Shakespeare with a singular noun of time. 
29 must needs. Abbott explains the adverb needs as formed from 

the possessive case of need, thus signifying " of necessity." 

35 cross her foot : cross her path, by a figure of association. Com- 

pare sc. V, line 55. 

36 What is the antecedent of she in this line? See sc. ii, line 151. 



Act II. Scene V 

3 What, Jessica ! What, why, and when were used indifferently 

as exclamations of impatience. 
8 wont : used, accustomed. 

18 to-night : last night. The same form occurs in 2 Henry VI., 
Act III, sc. ii, line 31, and in Julius Caesar, Act III, 
sc. iii, line 1. The allusion to an old superstition explains 
itself. 

20, 21 Launcelot's perversion of language gives Shylock an oppor- 
tunity to utter, " significantly," says Booth, " his little joke." 
But his bitterness goes beyond joking. 

24 Black-Monday : Easter Monday. So called because, in 1360, 
while Edward III. was besieging Paris, the day was unnatur- 
ally dark. Of course, the rest of the speech is pure nonsense. 
" Ash-Wednesday was four year " is rustic English for "four 
years ago last Ash- Wednesday." 

29 the wry-neck'd fife. Here the epithet may refer to the fife, 
which had a bent mouthpiece ; or it may properly belong to 



Sc. V, VIJ EXPLANATORY NOTES. 103 

the player, and be rhetorically transferred to the instrument. 
(The elder Booth illustrated the line, says his son, " by turn- 
ing his head as it is held when one plays upon the fife.") 
It is even possible that fife, by a figure of association, means 
" fife-player," as in Shakespeare we sometimes find " trumpet " 
instead of " trumpeter." 

42 " Worth a Jew's eye " was a proverbial phrase ; its origin is 
clear enough, and brings to mind the cruelties practised, for 
sordid motives, upon a persecuted people. Launcelot is re- 
peating the phrase in a different sense. 

4r3* Hagar's offspring. It will be remembered that the Ishmaelites, 
the descendants of Hagar, were held in contempt by the 
Israelites, as " sons of the bondwoman." 

45 patch : fool. The word probably arose as a nickname from 
the parti-colored dress of the professional jester, and was 
afterward applied to fools out of uniform. 

50 What is the antecedent of Ms ? 



Act II. Scene YI 

1 pent-house : shed. 

5 " The doves of Yenus are swifter in drawing her chariot, when 
she goes to seal," etc. 

7 obliged: bound, due. How many syllables are demanded? 

8 In modern speech, what word would probably follow holds f 

9 The second that has the force of '- with which." 

10 untread: tread back again, retrace. 

11 unbated : undiminished. 

14 younker : an inexperienced youth. 

15 the scarfed bark. What picture does this epithet lead you to 

form of the vessel as she sails away? How many syllables 
in scarfed ? 

18 over-weather'd. Can you supply the ordinary equivalent of 
this unusual word? 

18-19 It is not only characteristic of the talkative Gratiano to 
multiply illustrations here ; it is also characteristic of Shake- 
speare, with his splendid opulence of expression. The best 
commentary on the last illustration, lines 14-1 9, is the parable 
of the Prodigal Son, in which, it will be remembered, the 



104 EXPLANATORY NOTES [Act II 

language is equally plain and powerful. In this simile the 
experience of the bark is the principal idea, and the prodigal 
enters only as illustrating it ; but so vivid is the poet's 
imagination that he slips into personifying metaphor in 
lean, beggar' d, etc. See note on Act I, sc. i, lines 10-14. 

21 abode : abiding, stay. 

24 you is probably prolonged by the emphasis naturally laid upon 
it. See Introduction, lY. h. 2. 

30 What do you find in this line which would now be a gramma- 
tical impropriety ? 

34 Understand " so that " before you. 

36-39 There is a double confusion of ideas between love, or Cupid, 
and lovers ; but the general sense is plain. 

42 sooth : truth. What preposition must be understood before 
good ? 

42 too too : a very common repetition, for emphasis, in Elizabethan 
writers. Some editors, recognizing it as a compound, print 
it " too-too." 

42 light is here used in a double sense : " illumined," as by the 
candle, and " flighty, found wanting in conduct." 

45 How does Lorenzo really mean to apply the epithet lovely, here 
transferred to garnish ? 

47 close : secret (and hence favorable to Lorenzo's present pur- 
pose). 

51 by my hood. This curious oath, found elsewhere but not in 
Shakespeare, may be taken literally; or it may originally 
have meant, as Richard Grant White supposed, " by my 
condition or estate." (So in the compounds "manhood," 
" knighthood," etc.) 

51 a Gentile. This reads " gentle " in several of the old editions ; 

and no doubt a play upon the two meanings of Gentile is 
intended. 

52 Beshrew me : curse me (as with a shrew-bite). The tiny 

shrew-mouse, it was believed, was " deadly to other beasts if 
he bit them" (Florio's Worlde of Wordes, 1598), and hence 
came the curse, generally, as in this case, playful. 
66 twenty. Not literal, but a rhetorical putting of the definite 
for the indefinite ; what is the figure called? We often say, 
" I've told you so twenty times." 



Sc. VII] EXPLANATORY NOTES. 105 



Act II. Scene VII 

4 What deviation from modern usage do you notice ? 

5 On the measure of these inscriptions, see Introduction, IV. e. 
8 Make this line quite clear by supplying the necessary words. 

12 withal : therewith. 

22 Why is Tier the appropriate pronoun here ? 

26 rated : estimated. 

30 disabling : disparaging. 

34 What preposition must we understand before these ? 

40 Morocco first uses the figure " to kiss this shrine," a metaphor 

meaning " to pay their devotions, as to the shrine of a saint " ; 
and even before he has finished the sentence, his thought 
goes further on the line suggested, and presents Portia, not 
merely as the shrine sought by pilgrims, but as the saint 
that makes it holy — a saint, though still breathing mortal 
breath. 

41 The Hyrcanian deserts, south of the Caspian Sea, were supposed 

to be haunted by tigers. Compare Machetli^ Act III, sc. iv, 
line 101 : " The arm'd rhinoceros, or the Hyrcan tiger." 

Read "Th' Hyrcan |ian des|erts." 

42 throughfares. Of what familiar word is this obviously an old 

form ? 
44 head. This was sometimes used to mean an insurrection or 
an insurgent force. Compare Hamlet, Act IV, sc. v, line 101 : 

*' Than young Laertes, in a riotous head, 
O'erbears your ofl&cers." 

46 spirits : men of spirit. 

51 rib : enclose ; explain the metaphor involved. 

51 cerecloth : waxed cloth, used in embalming. How does Shake- 
speare here accent obscure f 

53 undervalued. Compare Act I, sc. i, lines 165, 166. Gold really 
was to silver as ten to one when this play was produced. 

56 angel. The gold angel was worth about ten shillings. 

57 insculp'd : engraved. Supply " it " after upon, or regard upon 

as used adverbially, and emphasized. The coin has the 
angel without ; the casket within. 



106 EXPLANATORY NOTES [Act II 

59-60 key . . . may: perhaps a rhyme. 

63 A carrion Death: of course a skull, a "death's head"; but 

Morocco, in the shock of his disappointment, applies to it 

the ugliest term which association suggests. 
65-75 See Introduction, IV. /. 
76-79 See Introduction, IV. g. 
77 part: depart. 

Act II. Scene VIII 

3 This line may be satisfactorily read in more ways than one. 
/ am may be slurred. The last syllable of Lorenzo may be 
regarded as melting into the following vowel sound, in 
which case not is emphatic and accented. The last syllable 
of Lorenzo may be fully sounded, and the emphasis placed 
on is : in which case not is unaccented, and is merely the 
eleventh syllable so frequently added. 
25 look : take care. Compare the modern colloquial " look out." 

27 reasoned : talked ; as the corresponding verb, raisonner, is used 

in French. 

28 the narrow seas : the English Channel. 

29 miscarried : came to harm. 

30 fraught. What form of the past participle of "freight" is 

now used literally in common speech? In what phrases 
would we use the form here found? 
33 You were best. The old dative construction, " it were better 
to me," was corrupted in Elizabethan English into " I were 
better." It is hard to tell whether you, in this line, is a 
true dative, or, like " I " in the case just given, a nomina- 
tive. In reading the line. You were may be slurred. For 
Antonio, see note on Act I, sc. i, line 69. 

39 Slubber : slur over. 

40 Explain the metaphor. . 

42 your mind of love : your loving mind, your mind preoccupied 

with love. 
48 wondrous sensible : wonderfully apparent. The force of the 

whole phrase seems to be, "moved so deeply that it was 

wonderful to see." 
52 his embraced heaviness: the sadness which he has taken to 

himself. 



Sc. IXl EXPLANATORY NOTES 107 



Act II. Scene IX 

13 marriage is a trisyllable. 

14 See Introduction, IV. d. 
19 address'd: prepared. 

19 Fortune : i.e. good fortune. 

25, 26 meant by : meant for ; the usual form in Shakespeare's 
time. For the verse, line 25, see Introduction, IV. e. This 
is such a line as Dr. Abbott, to sustain his statement that 
the Alexandrine rarely occurs in Shakespeare, would call a 

• " trimeter couplet," on account of the pause after the third 
foot. But Dr. Ellis thinks this merely a difference in 
terms. 

26 the fool multitude. See note on Act I, sc. i, line 102. 

28 The unemphatic syllables rior are inserted before a pause, 
after the third foot ; they are to be slurred in reading. 
Read also " th' interior." 

28 martlet : a kind of swallow. 

30 in the force and road. Professor Allen suggested that this 
may be equivalent to in vi et via, " exposed to the attack 
of." 

32 jump with: metaphorically, agree with. 

38 cozen : cheat. 

44 cover : put on the hat, in token of superior rank. 

46-49 A difficult passage. It may best be understood by divid- 
ing it at Jio7iour I line 47. Here the first metaphor ceases. 
" How much low peasantry (i.e. baseness worthy of peas- 
ants ; compare vileinye, as used by Chaucer) would then be 
gleaned from the field originally sown with the true seed 
of honour ! " That is to say, " How much meanness might 
be found, by a search as careful as that of the gleaner, 
among the nobly born ! " A new metaphor now begins. 
(The phrase chaff and ruin has no relation to the preceding 
figure; it is merely a general expression for "rubbish.") 
"And how much honour might be picked out from that 
which is at the present time accounted only rubbish, and 
made to shine with its proper splendour ! " Here honour 
has nothing to do with seed or gleaning, but is conceived 
of as some varnished or gilded object, now defaced and 



108 EXPLANATORY NOTES [Act IL Sc. IX 

hidden in a heap of rubbish. Observe that the paraphrases 
given, though they clear the thought, wholly fail to repro- 
duce the force of the original expression. Paraphrase is 
a dangerous remedy, to be used only in desperate cases. — 
It appears to be Arragon's argument that neither birth 
nor condition implies desert. When he " assumes desert," 
therefore, he stands solely upon his personal merit. 

51 See note on line 25. 

53 It was suggested by Capell that this line should be given as 
an aside. Why ? 

61 distinct. Notice the accent. 

63-78 See Introduction, IV. /. 

68 I wis. Shakespeare seems to treat this expression as if com- 
posed of two words, pronoun and verb, giving it the force 
of " I know." But it is really derived from the Saxon 
adverb gewis, later written ywis, and meaning " certainly." 

70-71 It has been gravely considered by some editors that this 
taunting little rhyme is inconsistent with the Prince's oath. 
We need not trouble ourselves about the matter ; the scroll 
is a reckless bit of mockery, not to be taken at all seriously. 
" You wish to marry Portia? J^o matter whom you mar- 
ried, you would always be a fool." 

72 you are sped : " your turn is served ; your business is done." 
The direct sense maybe found in Lycidas: "What need 
they? They are sped." But the Elizabethans generally 
gave the expression an ironic turn, as in Romeo and Juliet, 
Act III, sc. i, line 94, where the dying Mercutio exclaims, 
" I am sped," i.e. " I'm done for," in the vulgar speech of 
to-day. 

78 wroth : wrath, that is, grievance ; the effect is put for the 
cause. 

85 what would my lord ? Portia sportively replies to the mes- 
senger in words that match his own. 

88 What lord is here meant ? 

89 sensible regreets : tangible greetings, "to wit . . . gifts." 
89 sensible : evident to the senses. See sc. viii, line 48. 

92 likely: "promising" (Rolfe) ; "good-looking" (Furness). 
95 Who do you think this fore-spurrer must be? 
97 anon : at once, presently. 



Act III. Sc. I] EXPLANATORY NOTES 109 

98 high-day wit: holiday wit. Compare 1 Henry IV., Act I, 
sc. iii, line 46 : " With many holiday and lady terms." Of 
course the sense is " wit too fine for working-days." 

100 post : swift messenger. 

101 Make Nerissa's wish quite clear by supplying the ellipsis. 

Act III. Scene I 

4 the Goodwins: the Goodwin Sands, quicksands oif the eastern 
coast of Kent. — Is anything gained by / thi7ik they call the 
place? 
6 gossip. Look up the derivation of this word. Salarino per- 
sonifies Report as a tattling old woman. 
9 knapped : nibbled, gnawed. Old women were supposed to 
like ginger ; in Measure for Measure, Act IV, sc. iii, line 8, 
we find, " Marry, then ginger was not much in request, for 
the old women were all dead." 
14 " Finish your sentence." Salanio has been so carried away 
in his praise of Antonio that he has to be reminded of his 
unfinished sentence. 
18 betimes : in time, quickly. 
24 withal : an emphatic form of with, placed after its object. 

26 complexion: disposition; just the opposite of its meaning in 

Act I, sc. ii, line 115. 

27 dam: Shakespeare applies to birds this word for "mother." 

See Macbeth, Act IV, sc. iii, line 218 : " What, all my pretty 
chickens and their dam ! " Note that although Shy lock 
would not be likely to pun at this moment, the habit of 
playing upon words has probably influenced Shakespeare 
in the next speech. 
31 Salanio pretends to misunderstand Shylock. See note on 
Act I, sc. ii, line 16. 

37 bad match : bad bargain. 

38 dare scarce. This is an Elizabethan subjunctive, equivalent 

to " scarce would dare," and considered by Abbott to be 

stronger than "dares." 
46 disgraced me : lowered me in general estimation. 
51 affections, passions ? Affection implies that something without 

is affecting a man ; passion implies that he feels something 



110 EXPLANATOKY NOTES [Act III 

intensely within. The question amounts to : "Is he not 
affected as other men are ? does he not feel as they do ? " 

53, 54 warmed and cooled . . . winter and summer. "An in- 
stance of the construction called by the old grammarians 
a chiasm. (If under 'warmed' and 'cooled' were written 
'winter' and 'summer,' and the words which refer to each 
other joined by a line, the Greek letter chi would be 
formed.)" — Furness. See also Act I, sc. iii, lines 19, 20. 

59 humility. Schmidt points out that Shakespeare's use of this 
word sometimes approaches our modern sense of the word 
ftwman^, humaneness; while "humanity" in Shakespeare 
always means " the nature of man." 

81 then. This is one of the very few points in which the text 
of the present edition differs from that of the Globe, which, 
with the First Folio, reads " thou." The other Folios, fol- 
lowed by Rowe, Pope, Hanmer, Halliwell, and others, read 
then : with which Dr. Furness agrees. 
105 my turquoise. It was believed that the turquoise had peculiar 
virtues ; that it varied in color, for instance, with the health 
of the wearer. But does it appear that this was Shy lock's 
reason for valuing the ring ? 

Act III. Scene II 

6 in such a quality : thus ; to such a purpose. 

14 Beshrew your eyes. See note on Act IT, sc. vi, line 52. 

15 o'erlook'd: bewitched by looking upon. 

16 Read th'' other half. 

18, 20 See Introduction, IV. h. 2. Prove is in the subjunctive 
mood, as its position indicates. 
. 21 not I. The pronoun is here so far away from let, which should 
govern it, as to be "quasi-independent." — Abbott. 

22 peize: poise, i.e. weigh down; hence, in the present case, to 
retard. 

25 upon the rack. Bassanio's hyperbolical metaphor is playfully 
continued by Portia. It is strange to hear these graceful 
Italian lovers half-jesting in terms derived from a reality 
so ugly as this form of torture. A possible reason why 
the rack was in Shakespeare's mind, ready to furnish an 



Sc. II] EXPLANATORY NOTES 111 

illustration, may be found in the Introduction, VII., in the 
story of Roderigo Lopez. Lopez protested in court that he 
had previously made a false confession " to save himself 
from racking." Such a protest might well shake the con- 
fidence of thinking men in the rack as a means of getting 
at the truth. Compare lines 32, 33. 

30 life : i.e. life together, coexistence. 

44 For the most beautiful embodiment of the old notion that 
swans sing just before death, see Tennyson's poem. The 
Dying Sioan. 

^5 Regard the fourth foot as an anapest ; but it is probable that 
the almost vanished in the speaking of the line. 

46 For the treatment of er, see Introduction, IV. h. 1. Compare 
line 57. 

54 presence : dignity of bearing. 

56 The virgin tribute. Hesione was to be sacrificed to a sea- 
monster, but was rescued by Hercules, for the sake of the 
horses which her father. King Laomedon of Troy, had 
promised him as a reward. Hence Portia attributes to 
Bassanio " much more love." Find the whole story in any 
classical dictionary. 

61 Live thou : a subjunctive. 

63 fancy : love, in its lighter sense ; liking. Compare Tennyson, 
Locl'sJey Hall : — 

" In the spring a young man's fancy lightly turns to thoughts of love." 

73 Bassanio has been " commenting on the caskets to himself." 

Now " he begins abruptly ; the first part of the argument 
has passed in his mind." — Dr. Johnson. 

74 still. See Act I, sc. i, line 17. 
79 approve : confirm. 

83 cowards : to be here given as a monosyllable. 

87 excrement : outgrowth ; hence, beard. Shakespeare elsewhere 

uses the word for beard or hair. Compare Winter's Tale, 
Act IV, sc. iv, line 733. ^^ Autolycus. Let me pocket up 
my pedlar's excrement. (Takes off his false heard. y 

88 beauty : here specifically beauty of complexion. 

91 See note on Act II, sc. vi, line 42. Here the play is between 
lightness (of weight) and lightness (of character), levity. 



112 EXPLANATORY NOTES [Act III 

94 Upon : surmounting. What Bassanio means by supposed 
fairness appears in line 89. 

97 guiled : full of guile, treacherous. 

99 an Indian beauty. This expression has puzzled the com- 
mentators ; yet the simplest interpretation of it is the most 
satisfactory, "An Indian beauty" would be no beauty at 
all to Shakespeare, so that the phrase is in itself an in- 
stance of oxymoron ; and, signifying something unbeauti- 
ful, it is also antithetical to beauteous in the previous line. 
See note on Act I, sc. ii, line 114 ; and notice that beauty, 
line 88, is synonymous with fairness, line 94. Read lines 
97-100 quickly, but with a full sense of their meaning, 
strongly emphasizing Indian; call up at the same time the 
image of "the beauteous scarf" drawn aside, and the dark 
face appearing — and all difficulty will vanish. 

101 Read f entrap. Shakespeare sometimes allows an extra sylla- 

ble before a pause, as here in "wisest." 

102 Hard food for Midas. Any classical dictionary will tell the 

story of King Midas and the golden touch; but the best 
commentary on this line is Hawthorne's playful version of 
that story in The Wonder-Book. 
109 rash-embraced. See note on Act II, sc. viii, line 52. Is the 
final ed here sounded ? 

113 In measure rein thy joy. What is the metaphor? Some of 

the old editions read rain; how would you explain that 
reading? 

115 It is probably the pause which fills the time of a second syl- 

lable in the third foot. 

116 counterfeit: likeness. 

120 sugar breath. See note on "livery," Act II, sc. i, line 2. 

123 See note on line 101. 

125 This line satisfies the ear if read in the ordinary way, with 
the emphasis on made, one thus becoming the unaccented 
eleventh syllable. But the emphasis ought rather, from 
what follows, to fall on one. Abbott explains that in 
having the v is softened, and the word pronounced as a 
monosyllable ; and Furness comments on the correspond- 
ing treatment of v in Scotch dialect. Whether this rule 
is to be followed by a modern reader, or the last foot is 



Sc. II] EXPLANATOEY NOTES 113 

to be given as an anapest, is, as in cases previously en- 
countered, a question of taste. 

127 unfurnish'd, i.e. unprovided with a fellow ; unfellowed. The 
i in this word may be rendered very lightly. Notice the 
use of how far for " as far as," in correspondence with so. 

131 continent : container. 

141 by note : according to the written instruction. 

145 The second ^ in spirit must be lightly touched. 

158 livings : possessions. 

1^0 sum of something. This is the reading of the Quartos ; the 
.Folios have "sum of nothing." Dr. Furness thinks that 
in either case there should be a pause after " of," perhaps 
indicated by a dash ; Portia hesitates a moment. It would 
be interesting to discuss the difference of meaning between 
the two readings, and the distinct feeling which underlies 
each. 

163 The reading here given is not that of the Globe text, which 
has "happier than this." The editor has preferred to 
follow the later Folios and Rowe. 

165 Collier was the first to suggest that "is" in this line, occur- 
ring in all the early editions, may be a misprint for in. 
He was followed by Rolfe and Hudson, and the change 
approved by Furness. The Globe editors retain " is." 

169 but now : just now. In 171, even now, hut now has the slightly 
different force, " at this very moment." 

176 vantage : ground of advantage. Bassanio's loss of the ring 
will place Portia in a position where she will have the 
right to exclaim. 

201 Theobald's punctuation has here been adopted as the most 
reasonable. Connected with it is his definition of inter- 
mission as " standing idle ; a pause, or discontinuance of 
action." " It is no more my way to stand idle, than it is 
yours." The Globe editors follow some of the early texts 
in printing, " I loved for intermission." What interpreta- 
tion of the next line does this demand? On intermission 
see Introduction, IV. h. 2. 

214 Printed as prose in the Globe; but perhaps it is a line of 
verse. For marriage, see note on Act II, sc. ix, line 13. 
The rendering of the line would be similar to that of 215. 



114 EXPLANATORY NOTES [Act III 

215 " Two extra syllables are sometimes allowed, if unemphatic, 
before a pause, especially at the end of the line." — Abbott, 
Section 458. 
Enter Lorenzo, Jessica, and Salanio. This is the most impor- 
tant departure of the present edition from the Globe text. 
All early editions read Salerio, to which the First Quarto 
adds "a messenger from Venice." But it has already 
been pointed out (first note on Act I, sc. i) that there is 
an almost hopeless confusion in the Folios and Quartos 
between Salarino and Salanio ; and once at least (Act 
III, sc. iii) " Salerio " appears in the Second and Third 
Quartos, where unquestionably either Salanio or Salarino 
is intended. Knight considered it throughout a misprint 
for Salanio ; and argued that there is no necessity for in- 
troducing a new character, and that dramatic propriety is 
violated by the introduction at this point. AVith this opin- 
ion Dyce agreed. "Writing for a company of actors so 
few in number ... it does not seem likely that a prudent 
playwright . . . would, without excellent reason, add to the 
number of the Dramatis Personse. If, however, a new 
character must be introduced late in the play, that play- 
wright is, indeed, poverty-stricken in nomenclature, who, 
. to avoid confusion, can think of no name sharply differ- 
ent from any with which the audience is already familiar." 
— FuRNESS. "Salerio" seems to the present editor an 
accidental intruder, created by careless compositors. 

220 very : true. What is its derivation ? 

228 Following the methods that have been suggested in other 
cases, how would you read this irregular line ? Try also 
lines 239 and 263. 

236 A royal merchant was one who transacted business for a 
sovereign. Probably Gratiano, in the exuberance of his 
feelings, uses royal in the double sense. 

240 shrewd : biting, sharp. The general definition, " having the 
characteristics of a shrew," will cover most cases of this 
adjective, if it be remembered that shrew means (1) a tiny, 
biting, mouse-like creature; and hence, (2) a sharp-tongued, 
scolding person. We have, then, as derived adjective 
meanings, " keen, cunning, malicious, hurtful," and also, 



Sc. II, III] EXPLANATORY NOTES 115 

" ill-tempered." Lastly, the adjective has at times a force 
derived from the verb shrew, — " accursed." See note on 
heshreiv, Act II, sc. vi, line 52. Hov^^ must contents be 
accented ? 

243 constitution. How many syllables are there in this word? 

244 constant : firm, steady. 
246 See note on 215. 

256 state : estate. 

259 mere : absolute, unqualified. 

260 What difference from modern grammatical usage appears in 

this line ? 
271 He must be emphasized, to make the antecedent evident. 

275 impeach the freedom of the state : deny that the state is free, 

i.e. that it grants equal rights before the law to those of 
alien race. 

276 twenty. See note on Act IL, sc. vi, line 66. The student 

may make a list of examples, occurring in this play, of the 
peculiar use of twenty. 

277 magnificoes : the chief men of Venice. To what familiar 

word is this apparently allied? 

278 port : state, importance. 

279 envious: malicious. 

290 For conditioned see note on Act T, sc. ii, line 114; for the 

whole expression, note on Act II, sc. i, line 46. 
293 Supply a preposition before any. 
298, 299 For scansion, see Introduction, IV. h. 2. 

309 cheer : countenance, aspect. 

310 " Since a man's life has been staked for you (and you have 

been purchased for me at that great cost), I will love you 
all the more." 
314, 315 ^'■'Tioeen you and I seems to have been a regular Eliza- 
bethan idiom." — Abbott. 



Act III. Scene III 

naughty. Used in a graver sense than at present; as fre- 
quently in the King James's Bible, 
fond: foolishly indulgent. 



116 EXPLANATORY NOTES [Act III 

10 "As " is understood before to. 

19 kept with : dwelt among. 

26-31 " That is, ' for the denial of those rights to strangers which 
render their abode at Venice so commodious and agreeable 
to them, would much impeach the justice of the State.' " 
— Malone. This interpretation makes commodity the 
antecedent of it in line 28. Another view is that course of 
law is the antecedent, and should be followed by a comma ; 
that there should be a period or a colon after Venice, and 
that Will, line 29, should read " 'Twill." This gives for, 
line 27, the meaning "on account of." The second view 
is adopted by Theobald, Knight, and others. Though 
puzzling in construction, the passage conveys its meaning 
clearly enough. 

32 bated : reduced. 

Act III. Scene IV 

2 conceit: conception. 

3 amity : that is, of course, the friendship between Bassanio 

and Antonio. The second syllable is slurred. 
9 " Than you must be of your usual charities." 
12 waste : spend. 
15 lineaments : characteristics. 

20 What is Portia's meaning when she says my soul ? Explain 

her line of reasoning in 22. 
25 husbandry : stewardship. 
30 her husband and my lord's return. " Probably this idiom 

arises partly from the readiness with which a compound 

phrase connected by a conjunction is regarded as one and 

inseparable." — Abbott. 

52 with imagined speed : with all the speed imaginable. " The 

passive participle is often used to signif}^, not that which 
was and is, but that which was, and, therefore, can he here- 
after. In other words, -ed is used for -able." — Abbott, 
Section 375. 

53 tranect. This is possibly, as Capell conjectured, an other- 

wise unknown word for " ferry-boat " ; and possibly a mis- 
print for traject, an English form of the Italian traglietto, 



Sc. IV, V] EXPLANATORY NOTES 117 

which meant rather the place of passage than the boat. 
It is evident that the word was, in either case, unfamiliar 
to an English audience, since Shakespeare makes Portia 
explain further. 

61 accomplished : fully supplied. 

62 With that we lack : i.e. manliness. 

72 I could not do withal : " / couldn't help it ! " — an idiomatic 
phrase which is frequently found in Elizabethan writings. 

75 That : so that. 

77 Jacks : fellows. The use of a certain proper name in this 
representative way is not peculiar to Shakespeare's time. 

Act III. Scene V 

3 fear you : fear /or you. 

4 agitation : cogitation, in Gobbo-ese. 

5 For a similar cheering assurance, see As You Like It, Act 
^ III, sc. ii, lines 36-39. 

9 enow : enough. 
12 rasher on the coals: used as a compound expression, for a 

favorite article of food in Shakespeare's time. Look up 

the derivation of rasher. 
28 cover : lay the table. The same word in line 29, or at least 

in Launcelot's pretended understanding of that line, means 

to put on the hat, which would be disrespectful in the 

presence of a superior. 
31 quarrelling with occasion : picking quarrels with words on 

every opportunity which is afforded. 
39 suited. "Equivalent to either . . . dressed-up, tricked out ; 

or . . . matched (here ill-matched) with the matter." — 

Allen. 
43, 44. What is here contrasted with ivordf 
43 How cheer'st thou : " Are you in good spirits ? How do you 

like aU this ? " 
45 In addition to that pretty Elizabethan fashion, the free use 

of sweet (see sc. ii, line 312), we are to note here the peculiar 

persuasive force of good. It is used in this entreating 

manner, either with or without a noun. See Winter's Tale, 

Act. V, sc. i, line 19: "Good now, say so but seldom"; 



118 EXPLANATORY NOTES [Act IV 

also Hamlet, Act. I, sc. iii, line 46 : " But, good my brother, 
do not," etc. 

51 This line is very obscure. Probably mean it = " mean to live 
an upright life." The present reading is that of the First 
Quarto, followed by the Globe editors ; that of the First 
Folio is even less clear. Pope read meint it, In reason, etc. 

61 a stomach : an appetite, an inclination (both to dine and to 
praise ; a play on the word) . 

Act IV. Scene I 

Salanio and others. See note on stage direction, following 
line 216, Act III, sc. ii. 

7 qualify : moderate. 

8 obdurate. See Introduction, IV. Ji. 3. 

10 envy : malice, hatred. See Act III, sc. ii, line 279. 

18 fashion : assumed appearance. 

20 remorse : pity. 

26 moiety: literally a half, but used by Shakespeare for any 
portion. 

39 Here Shakespeare makes Shylock speak as if Venice were 
London. He is not always careless of detail, but his 
main interest seems to be in keeping true to the essentials 
of human nature. Sometimes, we may be sure, he de- 
liberately permits himself to use an inaccuracy which 
will appeal more directly to his audience than an ac- 
curate, but unfamiliar, term. 

43 humour: whim. 

47 a gaping pig : probably a roasted pig, with mouth open . 

49, 50 See note on affections, passions. Act III, sc. i, line 51. 

What is the antecedent of it in line 50? of it in line 51? 
The old texts are obscure in line 50, and there is a possi- 
bility that we should read "master" instead of mistress. 

56 certain : confirmed, rooted. 

60 What is the metaphor in current'? 

64 offence : the resentment caused by an offensive action. 

61-65 This arrangement of dialogue in alternate lines is a 
Greek form, called stichomythia. Shakespeare sometimes 
uses it in his earlier plays. 



Sc. I] EXPLANATORY NOTES 119 

72 Supply " bid them " after and. 

73 fretten. An old form of the past participle. 
88 parts : functions, offices. 

119 See note on Act I, sc. i, line 19. 

124 inexecrable: a word not elsewhere found, apparently meaning 

"that cannot be sufficiently execrated." 

125 for thy life : i.e. for letting thee live. 

130, 131 A twisted construction. Compare Act J, sc. i, lines 146, 
147. 

156 no impediment to let him lack. The sense of this contradic- 
tory expression is plain enough. It may be considered as 
proceeding from a slight confusion of thought, or as ellip- 
tical : " no impediment [so operating as] to let him lack." 
Compare lines 71, 72. 

158 whose : equivalent to "for his," or perhaps "for your." 

167 throughly. Compare Act II, sc. vii, line 42. 

174 within his danger : in his debt. 

176 must : here used without the idea of compulsion, to indicate 

that Shylock's mercy is the only thing that can save 
Antonio. "Then (if you are to escape the penalty) the 
Jew must be merciful ; there is no other way." 

177 Shylock understands must in the usual sense. 

178 " The nature of mercy is [that it is] not compelled." This 

passage is so frequently torn from the context that its 
true bearing is apt to be forgotten. 

185 The attribute to : the property of. 

185 awe and majesty : by hendiadys (for which see a rhetoric or 
dictionary), "awful majesty." Attribute is apparently in 
apposition with j)ower. " Temporal power — that property 
of kingship which causes kings to be feared." 

191 seasons : qualifies, moderates. 

217 A Daniel come to judgement ! " Then this Daniel was pre- 
ferred above the presidents and princes, because an excel- 
lent spirit was in him; and the king thought to set him 
over the whole realm." — Daniel^ vi. 3. 

249 balance. This is really plural, as the verb indicates. NTouns 
ending in ce, and indeed all nouns having s as the terminal 
sound, often dispensed with the plural s ; and even when 
written it was sometimes unpronounced. 



120 EXPLANATORY NOTES [Act IV 

272, 273 Repent but you, etc. " Only regret . . . and I regret 
not ... If yon feel sorrow for the loss of me, your 
very sorrow shall console me, making me willing to die." 
Compare Sonnet CXI : — 

" Pity me, then, clear friend, and I assure ye 
Even that your pity is enougli to cure me." 

285 so : provided that. 

290 Barrabas. Here, as in Marlowe's Jew of Malta, accented on 
the first syllable. This pronunciation and this spelling are 
also found in Tyndale's Bible and Coverdale's Bible. For 
the force of Shj^ock's words, see the Gospel of St. John 
xviii. 40 : " Now Barabbas was a robber." 

300 jot: this strong little word has an interesting derivation. 

303 the cutting it. According to Abbott, cutting is a noun, and 
therefore preceded by the; but such verbals are, among 
Elizabethan writers, so far confused with the gerund as 
to be allowed to govern a direct object. See Shakespearian 
Grammar, Section 93. Compare Act I, sc. ii, line 88. 

305 confiscate. As explained by Abbott (Section 342), words of 
the class to which this belongs, being directly derived from 
Latin participles, may themselves be regarded as participial 
adjectives, without the addition ol d. 

321 just : exact. 

322, 323 The Globe editors retain, after substance, the comma of 
the old editions. But the whole expression seems to be, as 
Rev. John Hunter points out, " in the substance or the divi- 
sion of " a grain, which is the twentieth part of a scruple. 
"Be it but so much as makes the flesh cut off light or 
heavy by the amount, nay, by the fraction, of a grain." 

328 on the hip. See note on Act I, sc. iii, line 40. 

340 question : discussion, argument. 

374 So please : if it please. 

375 quit : remit. 

376 I am content : i.e. content to do the same. " I do not want 

the other half of his goods (for myself)." 

376 so : provided that. 

377 in use : " in trust for Shylock for life, with remainder, after 

Shylock's death, for Jessica's husband."— Lewin, quoted by 



Sc. I, II] EXPLANATORY NOTES 121 

FuRNESS. It appears that Antonio is not considering his 
own interests, but merely securing to Lorenzo the future 
possession of that half of Shylock's goods which might 
legally be claimed by him, Antonio. He makes this propo- 
sition conditional upon the acceptance of another, which 
secures to Lorenzo and Jessica the possession of Shylock's 
whole estate at the time of his death. In use is here a legal 
term, and does not mean, as elsewhere, " at interest." 

383 " Of " is understood after possessed. 

393 ten more : i.e. twelve jurymen. This is out of place in the 
• mouth of a Venetian ; see note, line 39. 

396 desire your grace of pardon. An idiomatic Elizabethan con- 
struction, equivalent to "I desire pardon of your grace." 

400 gratify : reward. 

404 in lieu whereof : in return for which. 

406 cope: either "meet" (Schmidt) or "requite" (Clarendon 
Press editors). 

406 withal : as in Act III, sc. i, line 24. 

437 Express this idea in modern form. 

444 withal : as in Act. II, sc. vii, line 12. 

445 commandment. This is " commandement " in the most im- 

portant old editions ; and it is quite clear that the e, now 
lost, was here intended to be pronounced. 

Act IV. Scene II 

15 old : an augmentative, signifying " great.*' " We shall have 
plenty of swearing." 

Act V. Scene I 

4-14 These exquisite allusions to classic stories may be traced to 
Chaucer. The first is certainly a reminiscence of his Troylus 
and Creseide. In his Legende of Good WoJiien Thisbe, Dido, 
and Medea are associated ; though the passage in that poem 
relating to Ariadne, rather than the mention of Dido herself, 
seems to have suggested the present picture of Dido. In 
the case of Medea Shakespeare got additional suggestions 
from Ovid, with whose poetry, in Golding's translation, he 
was familiar. For three of these stories consult any class- 



122 EXPLANATORY NOTES [Act V 

ical dictionary. The tale of Troilus, however, is not classic, 
but a product of the Middle Ages. The young prince, 
Troilus, was the youngest son of King Priam of Troy. 
He secretly loved Cressida, who returned his love. She 
was exchanged for a Trojan prisoner, and sent to her 
father Calchas in the Greek camp, where she fell in love 
with the Greek chieftain Diomed, and proved false to 
Troilus. On this story Shakespeare has based his play of 
the Third Period, Troilus and Cressida. 

11 waft. Probably an absorption of the ed, into the final t, for 
the sake of euphoiiy. 

12, 14, 17 These lines are all irregular, though 12 and 14 may 
be scanned by making the fourth foot, in each case, an 
anapest; and 17 may be accounted for by supposing that 
the pause after Belmont fills the time of an accented syllable. 
But the truer explanation seems to be that this passage 
(beginning with the last part of line 3 and continuing 
until the movement runs down in the raillery of line 22) 
is to be regarded as a kind of lyrical interlude. If printed 
with the usual indentations, it would easily be recognized 
as such. The first line of each division is an iambic 
dimeter; the last line is twice in succession a trimeter, 
twice a trimeter hypercatalectic, and twice a dimeter. 

21 shrew. See note on shrewdy Act III, sc. ii, line 240. 

28 Stephano. It is clear that the name is here to be accented on 
the second syllable. The correct pronunciation is used in 
The Tempest, Act V, sc. i, line 277. Halliwell suggests 
that Shakespeare picked up the true accenting, after he 
wrote The Merchant, from Ben Jonson's Every Man in his 
Humour, in which he acted a part. 

57 touches. Schmidt defines touch, in this specific sense, as 
" the act of the hand on a musical instrument." 

59 patines. The First Folio and two of the Quartos reSidi pattens ; 
the later Folios have patterns — a reading adopted by 
Rowe, Pope, and others, who understand the constellations 
to be meant. Malone suggested patines, a word meaning 
the small plates used with the chalice in the adminis- 
tration of the Eucharist; these were sometimes of gold. 
Patten, paten, and patine are really the same word. 



Sc. I] EXPLANATORY NOTES 123 

61 This is the old theory of the music of the spheres. In 

ancient astronomy, it was held that there were certain 
"revolving spherical shells, having the earth for their 
common center, in which the stars were supposed to be 
set." — Standard Dictionary. These spheres, as they re- 
volved, made music. Elsewhere, Shakespeare distinguishes 
accurately between the stars or planets, and their spheres ; 
see Midsummer Night's Dream, Act II, sc. i, line 153. But 
in this figure he seems to confuse the two ideas, since the 
smallest orb must refer to a star. 

62 chenibins. " An English form of a Chaldee plural." — 

FuRNESs. What two forms are more usual, as the plural 
of cherub, and what distinction is made in their use ? 

63 " Some have .... been induced to think, that the soul 

itself by nature is or hath in it harmony." — Hooker: 

Ecclesiastical Polity. 
66 Explain the beauty of this line. 

77 mutual : common (to more than two, as used by Shakespeare). 
79 An example of the addition of an extra syllable before a 

pause ; here, at the end of the third foot. See Abbott, 

Section 454. 
79 the poet : Ovid. 

99 without respect : without regard to the conditions, absolutely. 
103 attended: i.e. attended by favorable circumstances. Most 

editors, however, regard this as a case of the omission of 

the preposition to. 
107, 108 " How many things are, by the fit season, qualified so as to 

receive their right praise and to attain their true perfection ! " 
109 See line 66. The story of Diana's love for the shepherd 

Endymion has been told by many poets besides Keats. The 

passage in Fletcher's Faithful Shepherdess is often quoted : — 

" How the pale Phoebe, hunting in a grove, 
First saw the hoy Endymion, from whose eyes 
She took eternal fire that never dies ; 
How she convey'd him softly in a sleep, 
His temples hound with poppy, to the steep 
Head of old Latmos, where she stoops each night. 
Gilding the mountain with her brother's light. 
To kiss her sweetest." 



124 EXPLANATORY NOTES [Act V. Sc. I 

118 See note on line 79. Compare also line 133. 

tucket : a flourish on a trumpet. 
127 Explain Bassanio's splendid compliment. 

129 See note on Act II, sc. vi, line 42. 

130 heavy : sorrowful. 
132 sort : dispose, arrange. 

146 This line appears defective ; but perhaps the pause after me 
is long enough to represent an accented syllable. 

146 posy : the inscription on the inside of a ring. The word is 
a contraction oi poesy. 

148 leave : give. Compare lines 170 and 192. 

154 respective : mindful, considerate. 

160 scrubbed : stunted and wretched ; from the same root as shrub. 

167 The superfluous syllable in this line has been disposed of in 
several ways. Pope and Dyce dropped so, believing that 
it had been repeated by mistake. Dr. Furness thinks 
that we should read rivet " almost, if not quite, as a mono- 
syllable." For remarks on the softening of v, see note on 
Act HI, sc. ii, line 125. 

175 See note on Act II, sc. viii, line 33. 

197 What should we say instead of contain f 

200 A construction in our own time inadmissible. 

201, 202 wanted the modesty To urge : would have been so wanting 
in modesty as to urge. 

202 a ceremony : a sacred thing. 

207 Shakespeare uses which interchangeably with who and that. 
See Act IV, sc. i, line 277. 

210 Even he. This nominative seems to imply that " the which 
. . . away " is a parenthetical clause ; as the Clarendon 
editors point out. 

231 double: deceitful, false. 

239 advisedly : intentionally. 

271 inter'gatories : interrogatories. "In the Court of Queen's 
Bench, when a complaint is made against a person for a 
'contempt,'- the practice is that before sentence is finally 
pronounced he is sent into the Crown Office, and being 
there 'charged upon inter'gatories,' he is made to swear 
that he will ' answer all things faithfully.' " — Lord Camp- 
bell, quoted by Dr. Furness. 



CKITICAL NOTES 125 



SUGGESTIVE AND CRITICAL NOTES 

When, in the early times, the curtain was drawn aside for the 
first performance of The Merchant of Venice, the " groundlings " 
who stood crowded together in the pit looked up at a hanging 
board and read the word Venice. At that cue their eager 
imaginations went to work and painted the scenery for them; 
for other scenery there was none. 

, When w^e sit down to read the play, then, we are in no worse 
case than they were, and we must try to do as they did. It would 
certainly be a great pity if we, with our many easily accessible 
books and pictures, and all the other advantages that have accu- 
mulated for us in three hundred years, proved less successful at 
this business of imagining things than the London 'prentices in 
the pit of the Theater, the Rose, or the Globe. 

Venice : at the word a rich, if rather confused, background 
should shape itself in the mind; a warm, blue southern sky, build- 
ings of black-and-white marble, smooth green canals, reflecting 
many brilliant colors, black gondolas, gliding hither and thither; 
in the brick-paved street picturesque passing figures, — melon- 
sellers, bronzed fishermen in red caps. And see ! three gentlemen 
approach in conversation. We listen, and the deep grave voice of 
Antonio begins : " In sooth, I know not why I am so sad." 

Act I, so. i. — The first thing we have to note is this sin- 
gular sadness of Antonio. The man is a rich merchant ; his com- 
panions speak of his great argosies loaded with silks and spices. 
We may judge that he is a settled man of, or near, middle age ; 
partly from the position that he has won, partly from his reproach- 
ful tone when Salarino suggests that he is in love. He has not 
been habitually sad, for in this mood he " has much ado to know " 
himself. And he protests that he knows not why such a mood 
hangs upon him. 

It seems a little presumptuous in us to seek the reason. Perhaps 
it is a reason that he would hesitate to give, or even to put into 
words in his own mind ; for it might seem selfish, and we are not 
long in finding out that Antonio is anything but a selfish man. 
He has a large, loving nature ; he is kind and generous to all his 
friends ; and when by and by he exhibits some unlovely qualities, 



126 CRITICAL NOTES 

we shall find that his passion springs from a loathing for that which 
he considers sordid and base, united with a prejudice characteristic 
of the time, not peculiar to the man. — Antonio has come to the 
autumn of life, and in the midst of his prosperity he feels an 
autumnal sadness. He is alone. No son bears his name ; the 
deepest tenderness of his being has never been called forth in 
the most natural way. With his wealth of stored-up affection he 
has endowed his gay young kinsman, Bassanio, and the latter is 
grateful and responsive. But there is necessarily some difference, 
which will inevitably increase, between the interests of the two 
friends. Bassanio's life lies before him ; Antonio's lies behind 
him. The younger has many hopes and joys that the elder cannot 
share. And Antonio has lately had a hint of some desire and 
purpose of Bassanio's with which he sympathizes, no doubt, but 
which nevertheless casts over his sensitive spirit the shadow of 
coming change. Notice his first important speech to Bassanio, 
lines 119-121. Read Sonnet LXXIIT, probably addressed by 
Shakespeare to a younger friend, and find that he himself knew 
the melancholy of middle age. (In // Pecorone Ansaldo, the 
merchant, having no children of his own, is in like manner wholly 
devoted to his young godson Giannetto.) 

As the three gentlemen go on with their talk, we are to observe 
the lively imagination of Antonio's friends. Salanio puts himself 
into Antonio's place, and conceives the situation so intensely that 
he fairly sees himself holding the light blade or feather of grass in 
his fingers, anxiously trying the direction of the wind. It is the 
same with Salarino; both, though in other respects ordinary 
men, are highly imaginative, judged by our modern standards. — 
Another point that impresses itself upon us is the constant pres- 
ence of the sea in the thoughts of these men. All through the 
play, from Salarino's very first speech, " Your mind is tossing on 
the ocean," the rhetoric frequently reminds us that we are in, or 
concerned with, a sea city ; there is a kind of subdued sea mur- 
mur, as it were, in the reader's ears. On this suggestion, it would 
be interesting to collect instances of illustrations taken from the 
sea, or allusions to sea legends, in The Merchant of Venice. 

Notice the graceful courtesy of all these gentlemen, as Salarino 
and Salanio take leave and the others enter ; particularly the dig- 
nity and reserved cordiality of Antonio's speech, lines 62, 63. What 



CRITICAL NOTES 127 

do you find to be the chief characteristics of Gratiano ? Can you 
conjecture what was Shakespeare's reason for introducing him at 
this point? Shakespeare seems to have known this type of young 
manhood very well; compare Mercutio, Hotspur, Falconbridge, 
Petruchio, — all " like in difference." 

When the two kinsmen are left alone, notice the beautifully sim- 
ple expression of Antonio's perfect devotion to his friend ; but notice 
also that his ideals for Bassanio are high, and his standard of right 
and wrong unaffected by his feeling ; in what lines is this made 
ijlear? — In Bassanio's account of Portia, lines 161-172, there are 
certain indications that he is not, primarily, seeking her wealth. 
He has set forth his plan, it is true, as a plan "to get clear of 
debt"; and his manner in so presenting it has been most reasona- 
ble, as it naturally would be, in addressing the man on whose 
cooperation all depended ; but as soon as he begins to speak of 
Portia, the lover flashes out. His words raise a golden cloud of 
romance about the distant Portia ; we, too, desire to see this fair 
lady of wondrous virtues ; and w^e are made aware that, in spite 
of all the preliminary talk about debts and plots and purposes, 
the love-story has really begun already; that it began before 
Portia was " richly left." What lines confirm this ? (In conjunc- 
tion with sc. ii, lines 98-102.) 

Act I, sc. ii. — In picturing Portia for ourselves we must never 
forget Bassanio's description (see sc. i, lines 169, 170). Is Portia's 
weariness at all like Antonio's sadness ? What do you conjecture 
to be the cause of it? How deep does it appear to lie, and what 
dispels it? (Compare As You Like It, Act I, sc. ii.) What intel- 
lectual quality of Portia's is most evident in this scene? What 
bit of dialogue seems inserted expressly to make a connection 
with sc. i ? 

Act I, sc. iii. — Shylock comes before us plainly clad in a dark 
gaberdine. He wears some distinguishing badge. (See note on line 
100.) He is an elderly man, with gray or gray-sprinkled beard. 
As one of an oppressed race, he will certainly have an air of 
habitual deference. But before the dialogue has proceeded far, 
we perceive that under this external appearance lies a keen w'it, 
with great bitterness of spirit. What are the first signs of this? — 
For the natural causes of this bitterness we have not far to seek. 
Shylock is intellectually much abler than any other man in the 



128 CRITICAL NOTES 

play. Yet, through race prejudice, he is suppressed ; his energies 
are confined to a single field, and for success in that field he is 
scorned. — Notice his subtle, malicious enjoyment of the present 
situation. His enemies ask help from him ; he will be slow and 
tantalizing in his answer. Picture the impatient Bassanio in his 
rich dress, and the glances he darts at Shylock while the Jew 
musingly repeats, " Three thousand ducats." — Notice the reasons 
which Shylock, in soliloquy, assigns for his hatred of Antonio. 
Remember that soliloquy is the dramatist's only method of reveal- 
ing what actually passes through a person's mind. In soliloquy 
there can be no motive for deceit; unless the thinker be a self- 
deceiver. Taking the soliloquy, then, as an expression of Shylock's 
genuine thought and feeling, which shall we conclude to be the most 
potent cause of his hatred for Antonio, the wrongs of his race or 
his individual wrongs? In Shylock's speech, lines 96-119, ap- 
pears that wonderful power which Shakespeare had in greater 
measure than any other writer that ever lived : the power of 
getting inside of a character, of temporarily taking exactly the 
point of view of a nature wholly different from the dramatist's 
own in circumstances wholly different from those which surround 
or have surrounded the dramatist. It is this which makes the 
creation of Shylock a much greater achievement than the creation 
of Antonio. The intellect alone will not furnish such insight. 
"Main force of mind" could never have made Shylock. (Com- 
pare Marlowe's Barabas in The Jew of Malta.') In addition, the 
dramatist must have had a broad human sympathy — the only 
key that will really open the hearts of men to inspection. We 
must love, or pity, to understand. Love for a nature which has 
become utterly unlovely, like that of Shylock, may be impossible. 
But pity, because the conditions have made him what he is, 
is certainly possible. Shakespeare seems to recognize that Shy- 
lock's feeling, in these circumstances, is almost inevitable. And 
while we read we may share Shakespeare's power of understand- 
ing, and of sympathizing with "all sorts and conditions of men." 
This is one of the great gains of literary study. 

Notice that the proposal made by Shylock is made at the climax 
of the scene, immediately after Antonio's speech of defiance, lines 
120-127. It is Antonio himself who confirms Shylock's previous 
resolution not to forgive him. — It would be premature, however, 



CRITICAL NOTES 129 

to conclude that Shylock, in this early phase of the affair, intends 
to exact the penalty. May it not be possible that the pleasure of 
having his enemy's life in his power, and thus of torturing him 
for a time, — the peculiar delight of listening to his supplications, 
— that this is all Shylock is forecasting? We must look for evi- 
dence as we proceed. 

Observe that Antonio exhibits in this scene a side very different 
from that shown us in sc. i. Does he appear to greater advantage 
here or in sc. i ? (See comment, in notes on sc. i, on causes of his 
•behavior to Shylock.) 

Act II, sc. i. — There is a largeness in the nature of Morocco, 
and an exuberance in his imagery, befitting a son of the hot 
South. He seems like a rough sketch of that greater Moor 
whom Shakespeare afterward drew, and who was also connected 
with a fair Venetian. — Portia's tact is shown in lines 13-22. It 
is true that the concluding passage, as we know from Act I, sc. ii, 
is not so complimentary to Morocco as it appears ; yet it is not 
insincere. No doubt the Moor's nobility impresses her. On 
account of his different race, she dreads his success; she would 
not willingly be his wife ; yet doubtless she would prefer him to 
any one of the " parcel of wooers " on whose " very absence " she 
dotes. Meanwhile, she welcomes him with graciousness. What 
word of hers is most felicitous in carrying out her kindly purpose 
of removing his sense of disadvantage? It is to be noticed that 
the race question enters here also. Shakespeare introduces it, as 
it were, half consciously, because his mind is working with the 
theme. 

Act II, sc. ii. — For a comment on the character and speech of 
Launcelot Gobbo, see note on the stage direction, Enter Launcelot. 
Act II, sc. iii. — It is convenient to consider this scene in con- 
nection with sc. V. In the earlier of these scenes, what side-light 
does Jessica throw upon Shylock's home life? What one word, 
used by her, indicates the reason of her feeling? What single 
touch of conscience does she show? Why does she change her 
faith? What kind of nature does this indicate? Does it appear, 
in sc. V, that Shylock was unkind to her? How would you char- 
acterize his behavior toward her?— What is Shylock's reason 
for recommending Gobbo to Bassanio? Notice, in this tiny de- 
tail, the demoralization of the man's nature by a cherished hatred. 



130 CRITICAL NOTES 

There may be something impressive in hatred exhibited on a large 
scale (compare the " immortal hate " of Milton's Satan) ; it is when 
we see its ultimate results in petty instances that we realize its 
essential baseness. 

Act II, so. iv. — This scene may be examined together with 
so. vi. Note the rapid movement of the two scenes, retarded 
only by the easy moralizing of Gratiano under the penthouse. 
We are plainly intended to share, temporarily, in the lively spirit 
of the scene; to appreciate the naturalness and gayety of it, its 
irresponsible brightness and dash. We should be able to make a 
beautiful setting for the action : the dark blue of Italian night, the 
flaring of torches, strains of music from gliding gondolas, a sur- 
rounding atmosphere of rich romance. But presently fhe scene is 
over : Shylock's dark house, the house he has trusted to his daugh- 
ter, is left alone. A chill falls upon us as we realize Jessica's 
treachery and selfishness. By what step has she descended to her 
lowest level? It is natural that the poetic and infatuated Lorenzo 
should, at this time, admire every action of hers ; but is she worthy 
of him? Shakespeare understands them; in a certain sense he 
sympathizes with them; but it would be a mistake to think that 
his sympathy means approval. The creator of Cordelia could not 
approve Jessica. — We begin to perceive that we are to take 
Shakespeare's plays, even the comedies, as we should take life : 
not as partisans of causes clearly right and persons absolutely per- 
fect, but observantly, kindly, sometimes regretfully ; never surren- 
dering our sense of right and wrong, yet never failing to make 
allowance for our fellow-creatures. 

It becomes time to ask, why does Shakespeare thrust into his 
plot this story of the false daughter stolen by a Christian ? It is 
no part of the Italian tale; we have no reason for supposing that 
it occurred in The Jeio "shown at the Bull." But to Shakespeare's 
purpose it is essential. It is his turning-point. It determines 
Shylock's action. Again has a Christian decided the matter. If 
Shylock has, up to this point, merely intended to torture Antonio 
by getting the latter into his power, it is clear that after this 
injury his intention will go further. If he has already resolved to 
kill Antonio, this double-clamps his resolution, which might have 
given way. In either case, the emphasis laid by Shakespeare upon 
this part of the plot converts Shylock from an impossible monster, 



CRITICAL NOTES 131 

such as the Jew in II Pecorone appears to be, into a possible, 
though terribly and piteously perverted, man. 

These considerations naturally lead us to Act II, sc. viii, and to 
Act III, sc. i. Observe the different sides of Salanio and Salarino, 
which are shown in that part of the dialogue dealing with Shylock, 
and in that part dealing with Antonio. In which case do the 
gentlemen appear to greater advantage? Does Salanio's account 
of Shylock's " confused passion " (sc. viii) imply that avarice was 
the sole cause of Shylock's distress? or are we also to conclude 
that he loved his daughter, or to set down a portion of his suffering 
to a wounded racial pride? 

It is safe to say that in Act III, sc. i, lines 50-58 form the most 
magnificent expression ever given to the human plea against race 
prejudice. In order to estimate the passage, it is well to remem- 
ber that the words were written by a Christian Englishman, in 
a time when race prejudice of all kinds was rampant — Shylock, 
left alone with Tubal, breaks out into the loose and fervid expres- 
tion natural to an emotional race. Notice how this contrasts with 
the tenseness of his speech to the Gentiles. Lines 74-79 are capable 
of being variously interpreted. Does Shylock really mean that he 
has never felt the curse which has fallen upon his nation until 
now? Would that be true? (Compare Act I, sc. iii, lines 96-119.) 
Or does he mean that his present misery is so great that it dwarfs 
all past miseries which he, as a Jew, has suffered ? Does his ex- 
clamation, " I would my daughter," etc., signify mere cupidity ? 
Or is it Oriental exaggeration of the terrible wi'ath and sorrow of a 
betrayed father? ("If the passage is taken in connection with the 
rest of the dialogue, it will be found to be merely a master-stroke 
of the poet in depicting as powerfully as possible the unbridled 
passion of a volcanic nature. This language reminds us of the 
exaggerated expressions of King Lear against his daughters." — 
Honigman, quoted by Dr. Furness.) Again, might it not be read 
so as to mean, " I would even give my beloved jeM^els and ducats 
if my daughter were dead, rather than false to her race " ? (It is 
worth noting that the ducats are imagined "in her coffin," as if to 
be buried with her.) — Is Tubal in this scene malicious ? or unsym- 
pathetic? or merely coarse-grained and solemnly important? — 
The subtle reality of Shakespeare's presentation appears in lines 
102-106. If we are reading in the right spirit, we shall feel, at 



132 CRITICAL NOTES 

this point, a confusion of emotions, such as a corresponding utter- 
ance would arouse in real life. The human feeling displayed by 
Shylock is pathetic ; his expression " a wilderness of monkeys," is, 
as Hazlitt remarked, a fine Hebraism; yet the picture suggested 
and the contrast between his point of view and his daughter's 
are certainly coinic. It is a case of " very tragical mirth." Of 
such mingled yarn is life woven ; and the art that would represent 
life must be complex. — Find the recurring expression of Shy lock's 
lowest motive for hating Antonio. Where did it occur before? 

We return to the postponed casket scenes. What does Shake- 
speare gain by presenting to his audience two of these before the 
scene of Bassanio^s choice? In Act II, so. vii, he makes us feel — 
and therefore felt himself — a certain sympathy with Morocco, 
though it does not go so far as to make us desire his success. On 
what subject are Morocco's thoughts, during his deliberations, 
chiefly fixed? What two considerations induce him to choose the 
golden casket? What, then, does his line of reasoning imply? 
Does his choice indicate that he overvalues appearances ? Of what 
two subjects is Arragon (Act II, so. ix) chiefly thinking? Does 
Ms choice indicate that he overvalues appearances ? That eccentric, 
though virtuous, person, Portia's father, appears to have wanted a 
son-in-law of precisely his own turn of mind ; one who, from in- 
tellectual similarity, could read his riddle. If he was, in addition, 
trying to protect his daughter from fortune-hunters, Shakespeare 
must be laughing in his sleeve at the ironic situation. We have 
no indication that either Morocco or Arragon had ever thought of 
Portia's wealth; the former was too magnanimous, the latter too 
proud. And we know that Bassanio had thought of it, though we 
are, fortunately, sure that it was his second rather than his first 
thought. 

Is it not possible that Shakespeare, who likes to do two things 
at once, is letting the case of Bassanio, for the purposes of the 
plot, point the moral which apparently underlay the test as 
planned — that we must not judge "by the view" — while he is at 
the same time contrasting, for his own satisfaction, the natures of 
Morocco and Arragon, and pronouncing against them both for the 
practical uses of life ? It seems to be the theme so often treated 
in the plays, — the contrast and contest between " blood " and 
"judgement," and the necessity of keeping the balance between 



CRITICAL NOTES 138 

them„ (See note on Act I, sc. ii, line 16.) We have the pas- 
sionate Morocco, his judgment clouded by his utter absorption in 
Portia, set against the cold-blooded Arragon in his intellectual 
pride. And Shakespeare lets the mocking rhymes tell the hot 
lover that his suit is cold as death itself, and tell the cool egotist, 
who stands aloof from the crowd in fancied wisdom, that lie is a 
fool. — The contrast between the two men is perhaps most marked 
at the moment of parting. Morocco goes quickly, with a " grieved 
heart " ; Arragon will keep his oath, and go without dispute ; but 
he is conscious that he cuts a foolish figure, and he feels that he is 
an injured man. 

Act III, sc. ii. — Portia's plea, "I pray you tarry," leads us to 
consider the duration of the action. It will be found quite im- 
possible to reconcile the opposing testimony, as to the lapse of 
time, occurring in different parts of the play. A careful compu- 
tation has been made by Mr. P. A. Daniel; but he is driven, by 
the necessity of allowing three months for the expiration of the 
bond, to the hypothesis that Bassanio was at least twelve weeks 
in Belmont before he made his choice of the casket. This is 
utterly inconsistent with the present speech of Portia. — We are 
obliged to fall back on Professor Wilson's Theory of Double Time. 
This will be found fully set forth in the Furness Variorum Edition 
of Othello. In brief, it is that Shakespeare distributed through a 
play two sets of hints, one set causing the action to appear rapid, 
and the other retarding it. The magical effect is, to give the play, 
when acted, the movement of life, so that no question as to possi- 
bility arises, at the time, in the mind. It will be profitable for 
the student to make a table of these accelerating and retarding 
time-notes in The Merchant of Venice, and finally to compare his 
results with Dr. Furness's analysis, in the Variorum Merchant, 
p. 339. 

The chief interest of this scene is, of course, the revelation of 
Portia's exquisite womanliness. Touch b3;^touch it unfolds itself 
before us, like some royal rose, until in the perfect speech to Bas- 
sanio (lines 150-176), we see the very soul of Portia, in its joyous 
abandonment to a new feeling. Notice her haste to help, her 
emotion on hearing Antonio's letter, her generosity, not only in 
the readiness to " pay the petty debt twenty times over," but in 
the insistence that Bassanio shall " away to Venice." — Lines 



134 CRITICAL NOTES 

281-287 afford some evidence as to Shylock's original intention ; 
but is Jessica a trustworthy witness? She is plainly led by the 
desire to make herself important. Until she volunteers this piece 
of information, she has been quite in the background. If we 
accept her testimony, do Shylock's words to Tubal and Chus prove 
that he would have been able to persevere in his dreadful purpose, 
without an additional injury to urge him on? 

Act III, so. iv. — Though Portia's intention is serious, she 
hopes so strongly for the best that she can carry it out with a 
merry heart. Notice the incidental touch of playful satire in her 
final speech, reminding us of Act I, sc. ii. 

Act III, sc. v. — Portia, it seems, has made an impression 
even upon the light-minded Jessica. However, the graceful hy- 
perbole of the compliment (lines 53-57) appears rather intended 
to deepen the effect of Portia's virtues upon the audience or the 
reader, than to exhibit the nature of the speaker. 

Act IV, sc. i. — In this scene our first thought would natu- 
rally be of Antonio, and accordingly we find him in the fore- 
ground, passive and sad, yet not forgetting to be grateful and 
gracious in his reply to the Duke. Our interest would then turn 
to his enemy; and Shakespeare has provided for this by next 
introducing Shylock. The latter's manner is perfectly composed. 
He believes that his cause is securely based upon the law. In this 
position of advantage he can be cool and self-controlled. He at 
first shows a proper deference to the Duke, but as he continues 
speaking, his tone becomes more and more bitter. Toward Bas- 
sanio he is contemptuous. (A most effective point is made by 
Sir Henry Irving in lines 81-83. He slowly taps the extended bag 
of gold with the point of his knife, before speaking the lines in a 
low tone of great firmness.) Lines 84 and 85 are as important as 
any in this scene. They clearly express the two opposite spiritual 
attitudes which it seems to be one of the main purposes of the 
scene to exhibit. The Duke suggests an attitude of forgiveness 
toward transgressors, springing from a sense of one's own trans- 
gressions. Shylock shows in contrast the proud consciousness of 
perfect rectitude, which neither asks nor makes allowances. It 
will be convenient to describe these two attitudes as those of 
mercy and justice. — The first endeavor of Portia, 178-196, is 
with solemn eloquence to impress on Shylock the beauty and the 



CRITICAL NOTES 135 

necessity of that spiritual attitude already suggested by the Duke. 
As before, he answers the plea for mercy with a claim for justice. 
" Law " is the keynote of Shylock's speeches ; observe how the 
word recurs. — Portia, with her usual tact, first wins the Jew's 
confidence by refusing to "wrest the law," and then follows up 
the advantage by calling for the bond. Shy lock is thus brought 
close to her; and she takes occasion to speak to him, in a low 
tone, no doubt unheard by the others (line 221). The highest 
argument she could use having proved inoperative, she now 
appeals to his love of money, and is met by a consideration on 
his part far higher than the love of money, though lower than the 
love of man. He is bound ; he has an oath in heaven ; again he 
sta.nds upon law, though this time it is not the law of Venice. 
Portia declares aloud that the bond is forfeit ; then vainly repeats, 
in a lower tone, the two expedients that have just failed, with the 
same result (lines 227-228). She afterward makes two more futile 
efforts to move Shylock. In line 249 she tries by her question to 
create a physical shrinking ; in lines 251-252 she finally tests the 
Jew to see how far his notion of strict justice will carry him. She 
finds that his conception of justice is absolutely literal. Portia's 
patience and her unwillingness to condemn Shylock prematurely 
have been very noticeable. 

But now she must strike, and she strikes hard. Leading Shy- 
lock to the very height of expectation in lines 293, 294, 296, and 
297, she suddenly hurls him down. It has been objected that Portia 
wins by a quibble ; but it must not be overlooked that her method 
is simply the reductio ad absurdum. Shylock has urged the letter 
of the law. Now he shall have his own notion of "justice," more 
than he desires. Observe that he does not resist. The perfect 
consistency of his character appears in the single question, " Is 
that the law?" He then endeavors to recede from this labyrinth 
step by step ; and at every turn Portia meets him by insisting, as 
he has insisted, upon the letter. It would, however, be against 
Portia's principles (since these decisions do not really represent 
her own attitude, but merely travesty that of Shylock) to rest 
here. She has a more solid basis on which to proceed. She brings 
forward the law against the contriving alien (342-350), and thus 
throws Shylock into a position where he must, she thinks, beg 
for mercy. She ends as she began, by emphasizing this idea. 



\ 



136 CRITICAL NOTES 

Up to this point any one who is not misled by detail must see 
the "poetical justice," or equity, of the procedure. A novice may, 
perhaps, grasp Shakespeare's meaning better than an expert ; for 
the poet is appealing to the average intelligence. 

But now observe Shylock's consistency. He does not beg for 
mercy. He cannot learn the lesson all at once. At this point 
he must be physically and mentally exhausted. The strain to 
which he has been subjected has been torturing. His keenest 
desire (incidentally evil) has appeared to be on the verge of ful- 
fillment ; and from triumph he has been hurled to ruin. A wreck, 
but still with something of dignity in his bearing, as of one who 
justifies himself, he staggers from the courtroom. The insolence 
with which Gratiano's tongue lashes the retreating figure, creates 
in us a certain sympathy with the defeated man. His nature 
is frightfully perverted; but his wrongs have been many. The 
" mercy " accorded to him by the Gentiles has been of an imper- 
fect kind. To the Jew it must appear more like malice than 
mercy. They have proceeded according to their light. His life 
has been spared by the Duke ; he has been allowed to keep half 
of his goods ; the other half is to be held in trust for him by 
Antonio, and to pass at his death to Lorenzo. But there are two 
conditions ; both imposed in kindness rather than in cruelty by 
Antonio, who shows no sign of undue exultation over his foe. 
What he does show is his utter inability, last as first, to take Shy- 
lock's point of view. The case is hopeless ; between these two, in 
the state of society depicted, there can be no understanding. Had 
Shakespeare represented it otherwise, he would have falsified the 
facts. 

Brief interludes fill necessary pauses in the main action. Notice 
the naturalness of these ; the mournful music of Antonio's words 
to Bassanio, 113-114; the passion of Gratiano, dashing itself to 
pieces against Shylock's grim determination like a wave breaking 
against a rock, 119-188; Antonio's beautiful farewell, 259-275; 
the touch of comedy in Bassanio's extravagant protest, 276-281, 
and Portia's comment with its magnanimous humor. At the last, 
pure comedy links the scene to the delightful Fifth Act. 

Act V, sc. i. — Little comment on the romantic charm of this 
act can be required. The jest of the rings is, in the early editions, 
carried farther than would be possible in the present day; this 



CRITICAL NOTES 137 

does not, however, indicate a fault in Portia's taste, but rather in 
the taste of the time. Shakespeare himself seems to enter into 
the irresponsible gayety of the scene ; he permits himself to add, 
in -the recovery of Antonio's argosies, an impossible turn to the 
plot. He leaves us, after the suspense of the trial, in an ideal 
atmosphere of mirth and peace and joy, of poetry and beauty and 
loyal love. Over all is the large sky, the pure moonlight, the 
eternal harmony of the sacred stars. 



